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)
Tuğçe Kandemir - Kurban Olduğum - Chord
Key Gb major – Eb minor Chords Bbm, Ebm, Ab, Db Easy key F (capo 1)
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Key: Gb | D#m | Ebm
Capo: 0
Bbm Ebm Nereye baksam gözlerim seni arıyor Ebm Bbm Çapkın edasına kurban olduğum Db Ab Bbm Çapkın edasına kurban olduğum Ebm Bbm Duydum sen birine sevdalanmışsın Ebm Bbm Duydum sen birine sevdalanmışsın Db Ab Bbm O seven gönlüne kurban olduğum Ebm Bbm Kurban olduğum, kurban olduğum Ab Bbm O seven gönlüne kurban olduğum Bbm Ebm Bbm Ebm Ebm Bbm Ab Bbm Bbm Ebm Mevlam kara yazmış alın yazımı Ebm Bbm Aşkınla çalarım dertli sazımı Ab Bbm Aşkınla çalarım dertli sazımı Ebm Bbm Ömrümce çekerim güzel nazını Ebm Bbm Ömrümce çekerim güzel nazını Db Ab Bbm Güzel nazlarına kurban olduğum Ebm Bbm Kurban olduğum, kurban olduğum Ab Ab Bbm Güzel nazlarına kurban olduğum
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Tuğçe Kandemir - Kurban Olduğum Tabs
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Harmony analysis
Tuğçe Kandemir – Kurban Olduğum: key and chord analysis
The song opens on Bbm 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: to us the song feels closer to the Eb minor side because Ebm is heard 13 times while Gb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 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 | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| V/V | Ab | Secondary dominant V/V — leads to Dbsecondary dominant | Ab · C · Eb | 8× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 20× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | Cb | Subdominant — moves away from home | Cb · Eb · Gb | — |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 3× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 13× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 13× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| IV | Ab | Major IV — Dorian / melodic-minor colourmodal colour | Ab · C · Eb | 8× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 20× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | Cb | Submediant — warm colour | Cb · Eb · Gb | — |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 3× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 44 times in total; 3 of them sit naturally inside the shared scale. Ab acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×10
The move to watch is Bbm → Ebm, heard 10 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → vi. 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — 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 down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. Bbm, Ebm, Ab, Db carry the song: iii–vi–V/V–V relative to Gb, v–i–IV–VII relative to Ebm. Ab adds a moment of surprise: secondary dominant V/V — leads to Db. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. The final chord is Bbm; the ear comes to rest in Gb.
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.
Tuğçe Kandemir - Kurban Olduğum 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: Selahattin SarıkayaMusic: Selahattin SarıkayaArrangement: Özkan Meydan
Alican Özbuğutu
Alican Özbuğutu
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