Funda Arar - İşte Bu Bizim Hikayemiz - Chord

Key Eb major – C minor Chords Gm, Bb, Cm, Fm, G#, C, F, Bbm … Easy key C (capo 3)

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Capo 0

Cm  Cm  Bb  Fm  Bb  Bb  G#  Gm
Fm  Gm  Bb  Bb  Gm  G#  Gm  Gm

Cm            Gm
Seni gördüğüm o günden beri
Bb             Fm     Cm
Kalbim perişan gönlüm bir deli
 
Cm            Bb
Sana yazdığım beni anlatan
Bbm     G#    Fm    Gm
Aşkımla dolu  bu sözlerimi
 
Cm  Cm  Gm  Gm  Eb  C  F  Gm

Bb            F     Bb
İşte bu bizim hikayemiz
Cm   Gm    Bb   Cm
Öyle saf öyle temiz
              C    Fm
Kenetlenmiş ayrılamaz
Gm     G#   Fm    Gm
Kalbimizde  ellerimiz

Cm              Bb        Fm
Kanımda canımda dört yanımda
Bb                  G#   Gm
Senden başka hiç kimse olmasın
Fm        Gm    Bb
Bir gün dönsen  yeter bana
Gm       G#    Fm    Gm
Gözlerim yolda kalmasın

Bb            F     Bb
İşte bu bizim hikayemiz
Cm   Gm    Bb   Cm
Öyle saf öyle temiz
              C    Fm
Kenetlenmiş ayrılamaz
Gm     G#   Fm    Gm
Kalbimizde  ellerimiz

End of song Play again?

Funda Arar - İşte Bu Bizim Hikayemiz Tabs

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Harmony analysis

Funda Arar – İşte Bu Bizim Hikayemiz: key and chord analysis

The song opens on Cm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 12 times against 1 for Eb. That is an interpretation, not a rule — the same chords are just as valid seen from Eb major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Eb or to Cm; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	11×
V/V	F	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	3×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	20×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	7×
V	Bb	Dominant — strongest pull home	Bb · D · F	16×
v	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	12×
V/ii	C	Secondary dominant V/ii — leads to Fmsecondary dominant	C · E · G	3×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	12×
V/iv	C	Secondary dominant V/iv — leads to Fmsecondary dominant	C · E · G	3×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	11×
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	3×
v	Gm	Minor dominant — soft pull	G · Bb · D	20×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	G#	Submediant — warm colour	G# · B# · D#	7×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	16×
vii	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 9 different chords appear 74 times in total; 6 of them sit naturally inside the shared scale. C, F act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×4
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3
Fm Bb Ebii → Vii → V Cmiv → VII ×2
Fm Cm Ebii → vi Cmiv → iminor plagal ×1

The move to watch is Bb → Cm, heard 4 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The backbone is Gm, Bb, Cm, Fm — iii–V–vi–ii from the Eb side, v–VII–i–iv from the Cm side. C adds a moment of surprise: secondary dominant V/ii — leads to Fm. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. It closes on Gm, letting the Eb side have the last word.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.