Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Gökçe Kırgız - Mızrak - Chord
Key Db major – Bb minor Chords Ebm7, Fm7, Bbm, Gbmaj7, Gb, Ab Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm7 Ebm7 Bbm Ebm7
Fm7 Ebm7 Fm7 Ebm7
Fm7
Neden saklıyorum bilmem ki
Ebm7 Gbmaj7
Bana gülümseyen resimlerini
Fm7 Bbm
Bu benim belki de kendime yaptığım
Ebm7
En fena kötülük
Fm7
Atmaya kıyamadım bu aşkın
Ebm7 Gbmaj7
İçi kan ağlayan delillerini
Fm7 Bbm
Çıkarsın karşıma eninde sonunda
Ebm7
Dünya küçük
Bbm Gb
O beyaz gül hala başucumda
Fm7 Ebm7
Yokluğuna arkadaşlık yapmakta
Bbm Ebm7
Üzerimde senin mavi gömleğin
Ab Ebm7
Gözlerinin yerini doldurmakta
Fm7 Bbm
Vurur durur her gece sırtımdan
Ebm7 Fm7
Yaralar özlemin mızrak mızrak
Bbm
Benden helâlllik istemeden ölme
Ebm7 Ab Gb
Almaz seni hiçbir toprak
End of song Play again?
Gökçe Kırgız - Mızrak Tabs
NotesX
Harmony analysis
Gökçe Kırgız – Mızrak: key and chord analysis
The song opens on Fm7 and ends on Gb. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 7 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii7 | Ebm7 | Supertonic — prepares the dominant | Eb · Gb · Bb · Db | 13× |
| iii7 | Fm7 | Mediant — a tonic-family shade | F · Ab · C · Eb | 10× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IVmaj7 | Gbmaj7 | Subdominant — moves away from home | Gb · Bb · Db · F | 2× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 2× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 2× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 7× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 7× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv7 | Ebm7 | Subdominant — moves away from home | Eb · Gb · Bb · Db | 13× |
| v7 | Fm7 | Minor dominant — soft pull | F · Ab · C · Eb | 10× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VImaj7 | Gbmaj7 | Submediant — warm colour | Gb · Bb · Db · F | 2× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 2× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 2× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 36 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
- Fm7 Bbm Dbiii7 → vi Bbmv7 → inatural-minor cadence ×4
- Ebm7 Bbm Dbii7 → vi Bbmiv7 → iminor plagal ×3
- Ebm7 Ab Dbii7 → Vii → V Bbmiv7 → VII ×2
The move to watch is Fm7 → Bbm, heard 4 times. From the Bbm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Fm7, land on F, Ab, C — 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Fm7, the song gives away its key from the very first bar. The chords that keep coming back are Ebm7, Fm7, Bbm, Gbmaj7; read them as ii7–iii7–vi–IVmaj7 in Db or iv7–v7–i–VImaj7 in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm7 → Bbm (iii7 → vi in Db, v7 → i in Bbm): natural-minor cadence — gentle, modal arrival. Ending on Gb, the song seals Db as home.
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.
Gökçe Kırgız - Mızrak 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.
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Lyrics: Murat GüneşMusic: Murat GüneşArrangement: Erhan Bayrak
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