Ravi İncigöz - Acı Aşk - Chord

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

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Capo 0

Gm
Bir günüm tozpembe aşk tadında
Cm        G#
Bir günüm simsiyah gözyaşında
Bb                 Gm
Türlü renkler gibi halimiz

Gm                    Cm      Ab
Vücudumuzda birbirimizden biriz
         Bb
Yorulmuş ruhumuz
           Fm             Gm
Örselenmiş kalbimiz kavgalarda

Cm         G# 
Çok nedeni varken yürümek
Bb         Gm
Bir sebebi yokken gitmek
G#      Bb  G#      Gm
Aşka münhasıır dengesizlik

Cm          G#
Zor sızınca içine o kuşkular
Bb              Gm            G#
Zor çalınca ağlamamak o şarkılar
       Bb     G#       Gm
Zor yokmuşsun gibi yaşamak

Cm          G#
Reddedilmiş itirazı
Bb          Gm
Mahveyleyip bütün hazzı
G#         Fm
Düşünürken bu nasıl yazı
Gm        G#
Aşk acıya dünden razı

End of song Play again?

Ravi İncigöz - Acı Aşk Tabs

NotesX

Harmony analysis

Ravi İncigöz – Acı Aşk: key and chord analysis

The song opens on Gm and ends on G#. 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 Cm is heard 5 times while Eb never appears. 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	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	2×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	10×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	10×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	1×
V	Bb	Dominant — strongest pull home	Bb · D · F	7×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	5×
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	5×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	2×
v	Gm	Minor dominant — soft pull	G · Bb · D	10×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	G#	Submediant — warm colour	G# · B# · D#	10×
VI	Ab	Submediant — warm colour	Ab · C · Eb	1×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	7×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 35 times in total; 6 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

G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×6
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×5
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×1

The move to watch is G# → Bb, heard 6 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → V (IV → V: the lift that builds tension before home). 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 G#, land on G#, B#, 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.

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
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. Gm, G#, Bb, Cm carry the song: iii–IV–V–vi relative to Eb, v–VI–VII–i relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G# → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. The final chord is G#; the ear comes to rest in Eb.

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.