Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Burak Bulut - İçime Ata Ata (Ebru Yaşar - Kurtuluş Kuş) - Chord
Key Bb major – G minor Chords Dm7, Eb, F, Cm7, Gm Easy key C
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Key: Bb | Gm
Capo: 0
Dm7
Güzel günlerin anısına inat
Beni kalbine yazdığın gibi de sil at
Cm7
Aşkı harcadım bir şişe kadarım inan
Eb
Sensiz bir an sana değil bana zarar
Gm Dm7
Bu sana son iltimasım
Cm7
Daha yokluğuna yok bir itirazım
Dm7
Suskunluğumun da dili var ama
F
Onu anlayacak bir yürek lazım
Gm F
İçime ata ata kadehini vuruyorum masalara
Eb
Bu gece yarama meze olur anılar
Dm7
Kardan zarar katar acılar
Eb F
Yapışır bana yaka paça
End of song Play again?
Burak Bulut - İçime Ata Ata (Ebru Yaşar - Kurtuluş Kuş) Tabs
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Harmony analysis
Burak Bulut – İçime Ata Ata (Ebru Yaşar - Kurtuluş Kuş): key and chord analysis
The song opens on Dm7 and ends on F. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because Gm is heard 2 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 2× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 4× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 3× |
| V | F | Dominant — strongest pull home | F · A · C | 3× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 2× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 2× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 2× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 4× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 3× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 3× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 14 times in total; 5 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
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1
- Eb Gm BbIV → vi GmVI → iVI → i ×1
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×1
The move to watch is F → Gm, heard once. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Dm7, the song gives away its key from the very first bar. The backbone is Dm7, Eb, F, Cm7 — iii7–IV–V–ii7 from the Bb side, v7–VI–VII–iv7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. The final chord is F; the ear comes to rest in Bb.
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.
Burak Bulut - İçime Ata Ata (Ebru Yaşar - Kurtuluş Kuş) 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: Doğanay KaradenizMusic: Doğanay KaradenizArrangement: Mustafa Ceceli
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