Deniz Tekin - Böyle - Chord

Key Eb major – C minor Chords Bb, Ab, Cm, Eb Easy key G

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Capo 0

Eb   Ab   Bb   Eb  Bb

Ab                Eb          Bb            Ab
Yaşanmamış ve bitmemiş işler var tembelliğimizden
               Eb        Bb             Ab
Gidilmemiş görülmemiş yerler aynı sebepten
                   Bb         Cm      Bb      Ab
Bi gün kaçarız da söz veremem henüz evde değilim
                 Bb          Cm    Bb    Ab
Basıp gidemeyiz sağ şeritten kaç kere dedim

Cm      Ab  Bb  Cm    Eb     Bb       Ab          Bb      Cm  Ab  Bb
Bana inaaaaaan düşündüm gelmeyi ama üşendim ve tükendim öyle
Cm        Ab  Bb  Cm     Eb       Bb    Ab       Bb   Cm  Ab  Bb  Eb
Bana güveeeennme düzeltemem her şeyi huyumdan yapımdan       böyle

Ab              Eb       Bb             Ab
Duyulmamış yazılmamış şarkılar söylemişiz
                Eb          Bb           Ab
Hayatında hiç görmemiş birinle mavi demişiz
                   Bb          Cm     Bb          Ab
Bi gün gideriz de söz veremem kendimden emin değilim
                Bb           Cm   Bb    Ab
Devam edemeyiz son seferden kaç kere dedim

Cm      Ab  Bb  Cm    Eb     Bb       Ab          Bb      Cm  Ab  Bb
Bana inaaaaaan düşündüm gelmeyi ama üşendim ve tükendim öyle
Cm        Ab  Bb  Cm     Eb       Bb    Ab       Bb   Cm  Ab  Bb  Eb
Bana güveeeennme düzeltemem her şeyi huyumdan yapımdan       böyle

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Deniz Tekin - Böyle Tabs

NotesX

Harmony analysis

Deniz Tekin – Böyle: key and chord analysis

The song opens on Eb and ends on Eb. 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 Eb major side because it both starts and finishes on Eb and Cm is heard 16 times against 12 for Eb. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

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	12×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	23×
V	Bb	Dominant — strongest pull home	Bb · D · F	30×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	16×
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	16×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	12×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	23×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	30×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 81 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×17
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×14
Ab Eb EbIV → Iplagal cadence CmVI → III ×4
Bb Eb EbV → Iauthentic cadence CmVII → III ×3
Ab Cm EbIV → vi CmVI → iVI → i ×2

The move to watch is Ab → Bb, heard 17 times. From the Eb side it reads IV → V (IV → V: the lift that builds tension before home); from the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — 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

4 semitones up
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

Starting on Eb, the song gives away its key from the very first bar. The chords that keep coming back are Bb, Ab, Cm, Eb; read them as V–IV–vi–I in Eb or VII–VI–i–III in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): IV → V — the lift that builds tension before home. It closes on Eb, 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.