Tarkan - Taş - Chord

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

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Capo 0

      Gm              Bb
Öyle sakin durduğuma bakma
         Cm            Fm        Gm
Habersizce kopan fırtınalara benzerim
                          Cm
Ne olur bile bile canımı yakma
              Bb
Alet olur oyununa seni pişman ederim
             G#             Gm
Yar etmem elleri sana zehir ederim
 
         Cm                          
Unuttun mu kurduğumuz o düşleri
          Bb
Göz göze diz dize o hoş sohbetleri
          Cm         
Kaç mevsim yolunu bekledim
         Bb             D#
Sarardım yazına hasretim
                 Bb
Aman aman aman aman
 
          Bbm      Fm        Gm     
Ne hata ettim kabahatim ne söyle
          Bbm       Fm           Gm
Öğle pervasız gidemezsin hiç bir yere

Cm                  Fm         Gm
Arar bulurum izini bilirsin zır deliyim ben
Cm                  Fm     Bb     
Yakarım yıkarım ne var ne yok gelirim peşinden
Cm                     Fm          Gm
Taş olurum yollarında takılır düşer ah yorulursun
Cm                       Fm       Gm     
O uzaklar bize haram gel vazgeç ziyan olursun

End of song Play again?

Tarkan - Taş Tabs

NotesX

Harmony analysis

Tarkan – Taş: key and chord analysis

The song opens on Gm 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 Cm is heard 8 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	D#	Tonic — home	D# · G · A#	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	7×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	8×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	1×
V	Bb	Dominant — strongest pull home	Bb · D · F	6×
v	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	2×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	8×
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	8×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	D#	Relative major — the bright side	D# · G · A#	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	7×
v	Gm	Minor dominant — soft pull	G · Bb · D	8×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	G#	Submediant — warm colour	G# · B# · D#	1×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	6×
vii	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	2×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 33 times in total; 6 of them sit naturally inside the shared scale. Bbm step outside the scale as colour chords.

Chord movement

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×5
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
Bb D# EbV → Iauthentic cadence CmVII → III ×1
Fm Bb Ebii → Vii → V Cmiv → VII ×1

The move to watch is Gm → Cm, heard 5 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — 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

Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, Cm, Fm, Bb; read them as iii–vi–ii–V in Eb or v–i–iv–VII in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. 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.