Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Zeki Müren - Bulamazsın - Chord
Key Gb major – Eb minor Chords B, C#, Bbm, D#m, F#, G#m Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: Gb | D#m | Ebm
Capo: 0
F# D#m C# B B C# B Bbm D#m C# B Bbm Ellere kanıpta gitme sevgilim D#m C# B Bbm Hayat bu gün gelir harcarlar seni F# D#m C# B Bbm Bir de saçlarına karlar yağınca D#m C# B Bbm Eskimiş şal gibi atarlar seni C# B Bbm C# Bbm C# B Eğer gideceksen, mani olamam B C# B Bbm Düşersen sonunda yine bul beni F# G#m B G#m Vefasız kullardan, vefa bekleme B C# B Bbm Kıymetsiz bir pula satarlar seni F# D#m C# B Bulamazsın, bulamazsın, benim gibi seveni B C# B Bbm Bulamazsın, bulamazsın, seni mutlu edeni F# D#m C# B Bulamazsın, bulamazsın, benim gibi seveni B C# B Bbm Bulamazsın, bulamazsın, senin için öleni
End of song Play again?
Zeki Müren - Bulamazsın Tabs
NotesX
Harmony analysis
Zeki Müren – Bulamazsın: key and chord analysis
The song opens on F# and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Gb major and Eb minor because it opens on Gb and Ebm is heard 7 times against 5 for Gb. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Gb or to Ebm; 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F# | Tonic — home | F# · A# · C# | 5× |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 2× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 11× |
| V/vi | Bb | Secondary dominant V/vi — leads to D#msecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 20× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 15× |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 7× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 7× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | F# | Relative major — the bright side | F# · A# · C# | 5× |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 2× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 11× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 20× |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 15× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 60 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
- B C# GbIV → VIV → V EbmVI → VIIVI → VII ×5
- Bbm D#m Gbiii → vi Ebmv → inatural-minor cadence ×3
The move to watch is B → C#, heard 5 times. From the Gb side it reads IV → V (IV → V: the lift that builds tension before home); from the Ebm 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
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over C#, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is F#; the ear learns where home is within a second. B, C#, Bbm, D#m carry the song: IV–V–iii–vi relative to Gb, VI–VII–v–i relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → C# (IV → V in Gb, VI → VII in Ebm): IV → V — the lift that builds tension before home. It closes on Bbm, letting the Gb 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.
Zeki Müren - Bulamazsın Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.