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)
Camel - Rajaz - Chord
Key Gb major – Eb minor Chords Ebm, Ebsus2, B/E, Gb, Bb7, Abm6, Bb, Bmaj7 … Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Ebsus2 Ebm Ebsus2
Ebm Ebsus2 Ebm Ebsus2 Ebm
When the desert sun has passed horizon's final light
Ebsus2 Ebm Ebsus2
and darkness takes it's place
Ebm Ebsus2 Ebm
We will pause to take our rest
Ebsus2 Ebm Ebsus2 Ebm
Sharing songs of love tales of tragedy
Db Gb Gbmaj7
The souls of heaven
Bb7 Ebm Ebsus2
are stars at night
Ebm Ebsus2 Ebm
They will guide us on our way
Ebsus2 Ebm Ebsus2 Ebm
until we meet again another day
Ebm Ebsus2 Ebm Ebsus2
Ebm Ebsus2 Ebm Ebsus2 Ebm
When a poet sings the song and all are hypnotised
Ebsus2 Ebm Ebsus2
enchanted by the sound
Ebm Ebsus2 Ebm Ebsus2 Ebm
We will mark the time as one, tandem in the sun
Ebsus2 Ebm
The rhythm of a hymn
Db Gb Gbmaj7
The souls of heaven
Bb7 Ebm Ebsus2
are stars at night
Ebm Ebsus2 Ebm
They will guide us on our way
Ebsus2 Ebm Ebsus2 Ebm
until we meet again another day
Ebm Ebsus2 Ebm Ebsus2 Ebm Ebsus2 Ebm Ebsus2
Ebm Ebsus2 Ebm Ebsus2 Ebm Ebsus2
Abm6 Bb Bmaj7 Bb Bmaj7 Bbm Bmaj7 Bbm B
Ebm Ebsus2.....
Ebm Ebsus2 Ebm Ebsus2 Ebm Ebsus2 Ebm Ebsus2
Ebm Ebsus2 B/E Ebsus2 Ebm Ebsus2 B/E Abm6
Ebm Ebsus2 B/E Ebsus2 Ebm Ebsus2 B/E Abm6
Ebm Ebsus4
Ebm Ebsus2 Ebm Ebsus2 Ebm
When the dawn has come sing the song
Ebsus2 Ebm Ebsus2
All day long
Ebm Ebsus2 Ebm Ebsus2 Ebm
We will move as one bear the load
Ebsus2 Ebm
on the road
Gb Bb7 Ebm
The souls of heaven turn to stars
Bbm
every single night
Bb
all across the sky
Ebm
they shine
Ebm Ebsus2.....
End of song Play again?
Camel - Rajaz Tabs
NotesX
Harmony analysis
Camel – Rajaz: key and chord analysis
The song opens on Ebm and ends on Ebm. 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)
- #7 = D (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb minor side because it both starts and finishes on Ebm, Ebm is heard 56 times against 5 for Gb and the major V chord points straight at Ebm. 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 | 3× |
| Imaj7 | Gbmaj7 | Tonic — home | Gb · Bb · Db · F | 2× |
| ii6 | Abm6 | Supertonic — prepares the dominant | Ab · Cb · Eb · F | 3× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 3× |
| V7/vi | Bb7 | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F · Ab | 3× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | 3× |
| IV | B/E | Subdominant — moves away from home | B · D# · F# | 4× |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 3× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 1× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 2× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 56× |
| VIsus2 | Ebsus2 | Relative minor — the melancholy side | Eb · F · Bb | 50× |
| VIsus4 | Ebsus4 | Relative minor — the melancholy side | Eb · Ab · Bb | 1× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 56× |
| Isus2 | Ebsus2 | Tonic — home | Eb · F · Bb | 50× |
| Isus4 | Ebsus4 | Tonic — home | Eb · Ab · Bb | 1× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 3× |
| IIImaj7 | Gbmaj7 | Relative major — the bright side | Gb · Bb · Db · F | 2× |
| iv6 | Abm6 | Subdominant — moves away from home | Ab · Cb · Eb · F | 3× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 3× |
| V7 | Bb7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F · Ab | 3× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | 3× |
| VI | B/E | Submediant — warm colour | B · D# · F# | 4× |
| VImaj7 | Bmaj7 | Submediant — warm colour | B · D# · F# · A# | 3× |
| VI | B | Submediant — warm colour | B · D# · F# | 1× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 2× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 13 different chords appear 134 times in total; 11 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb7 / Bb is V7/vi, a secondary dominant heading for Ebm.
Chord movement
- Bb7 Ebm GbV7/vi → visecondary resolution EbmV7 → iharmonic-minor cadence ×3
- Db Gb GbV → Iauthentic cadence EbmVII → III ×2
- Abm6 Ebm Gbii6 → vi Ebmiv6 → iminor plagal ×2
- Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×1
- Abm6 Bb Gbii6 → V/vi Ebmiv6 → Viv → V ×1
- B Ebm GbIV → vi EbmVI → iVI → i ×1
The move to watch is Bb7 → Ebm, heard 3 times. From the Ebm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V7/vi → vi (secondary resolution: Bb7 resolves a fourth up to Ebm). 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Ebsus2, land on Eb, F, Bb — the chord's own tones always sound right on strong beats.
- Over B/E, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- When Bb7 comes, swap the scale's Db for D: that single note is the harmonic-minor sound of the chord.
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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
Starting on Ebm, the song gives away its key from the very first bar. The chords that keep coming back are Ebm, Ebsus2, B/E, Gb; read them as vi–VIsus2–IV–I in Gb or i–Isus2–VI–III in Ebm. Bb7 is the interesting twist: in Gb it is a chromatic chord (V7/vi), while in Ebm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Bb7 → Ebm (V7/vi → vi in Gb, V7 → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. It closes on Ebm, letting the Ebm 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.
Camel - Rajaz 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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