Onur Koç - Geceler Suskun - Chord

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

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Capo 0

Cm  Cm  Gm  Gm  Cm  Cm  Gm  Gm
Ab  Ab  Bb  Bb  Ab  Fm  Gm  Gm
Ab  Ab  Bb  Bb  Ab  Bb  Ab  Gm
Ab  Bb  Ab  Gm

    Cm                      Gm
Geceler suskun hep sebepsiz ağlarken sensiz
    Cm                          Gm
Yüreğin umutsuz hep mi sus pus, beklerken bensiz
         Ab                       Bb
Düşersem sensizken yine, bilinmez boşluğa
         Ab            Bb           Gm
Kalırsam sensiz ben böyle, korkarım ağlamaya
         Ab                        Bb
Küserken sen varken yine, bi başka aşklara
    Ab            Bb         Ab  Fm     Gm
Yaşarım mı sandın, sandın sen senden sonra

  Cm                             Gm
Kırık bi kalple yaşanır mı böyle, hadi bana söyle
      Cm                           Gm
Söyle ki bi dursun artık aşkım sana zor olsa da bile
         Ab                          Bb
Gözümden dökülen son damla yaş senin uğruna
        Ab            Fm         Gm
Sözümdü hep bu aşk sana, ayrılık olsa da
        Ab                      Bb
Oysa ne çok sevmişim ki, o vefasız kalbin
    Ab         Bb       Ab   Fm    Gm
Beni tekrardan tekrardan sevebilseydi

    Cm                       Gm
Bedenim yorgun sensizken boş gönlüm bir sarhoş
   Cm                        Gm  
Acılarla soldum da savruldum yaşama sebebim yok
         Ab                       Bb
Düşündüm hep günden güne geçen şu yılları
           Ab          Bb          Gm 
Hiç mi hiç sevmemişsin sen o masum aşkımızı
         Ab                     Bb
Tükendim ben şimdi inan inan bu anılarla
   Ab            Bb          Ab    Fm    Gm
Neden diyemiyorum sevemiyosan beni bir daha

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Onur Koç - Geceler Suskun Tabs

NotesX

Harmony analysis

Onur Koç – Geceler Suskun: 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 10 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	5×
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	Ab	Subdominant — moves away from home	Ab · C · Eb	24×
V	Bb	Dominant — strongest pull home	Bb · D · F	17×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	10×
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	10×
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	5×
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	Ab	Submediant — warm colour	Ab · C · Eb	24×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	17×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 76 times in total; 5 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 ×15
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×7

The move to watch is Ab → Bb, heard 15 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 Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
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.

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 Cm lays a solid floor for everything that follows. Ab, Gm, Bb, Cm carry the song: IV–iii–V–vi relative to Eb, VI–v–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 Ab → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. The final chord is Gm; 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.