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)
Murat Boz - Harbi Güzel - Chord
Key Gb major – Eb minor Chords Bmaj7, Abm, Ebm, Bbm Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bmaj7 Abm
Cennetten bi parça
Ebm Bbm
Nasıl güvenmez insan
Bmaj7 Abm
Pelerin gibi örtsen beni
Ebm Bbm
Hiç de bi şeyden korkmam
Bmaj7 Abm Ebm Bbm
Çal, çal, çal
Bmaj7 Abm Ebm Bbm
Yavaş yavaş ısınsana, alış bana
Bmaj7 Abm Ebm Bbm
Serin serin, derin derin karış bana
Bmaj7 Abm
Rüzgârı avla, dümenini rüzgâra bağla
Ebm Bbm
Oyununu oyna, yenilmem asla
Bmaj7 Abm
Kor gibi kumlar, bilemem kim kimi sollar
Ebm
Çağırır beni yollar (yollar)
Bmaj7
Harbi güzel (gel)
Su güzel de (üfle)
Abm Ebm
Yüreğimde sönmeyen alev
Bbm Bmaj7
Deryada denizde (bi’ bak)
Abm
Bedenin de (hisset) ötesinde
Ebm Bbm Bmaj7
Çıldırtan yanı arkadaş harbi güzel
Bmaj7 Abm Ebm Bbm
Bmaj7 Abm Ebm Bbm
Serin serin, derin derin karış bana
End of song Play again?
Murat Boz - Harbi Güzel Tabs
NotesX
Harmony analysis
Murat Boz – Harbi Güzel: key and chord analysis
The song opens on Bmaj7 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 11 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 | 11× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 10× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 12× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 11× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 11× |
| 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 | 11× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 10× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VImaj7 | Bmaj7 | Submediant — warm colour | B · D# · F# · A# | 12× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 44 times in total; 4 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
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×11
The move to watch is Abm → Ebm, heard 11 times. From the Ebm side it is iv → i (minor plagal: deep and melancholic); from the Gb side it reads ii → 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 Bmaj7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — 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.
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
The opening Bmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Bmaj7, Abm, Ebm, Bbm; read them as IVmaj7–ii–vi–iii in Gb or VImaj7–iv–i–v in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm → Ebm (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. Ending on Bbm, the song seals Gb 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.
Murat Boz - Harbi Güzel 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: Alper Narman
Ozan Bayraşa
Ömer Akkaya
Mert Çodur
Reşit Özkaplan
Ali Barış AtaMusic: Alper Narman
Ozan Bayraşa
Ömer Akkaya
Mert Çodur
Reşit Özkaplan
Ali Barış AtaArrangement: Ozan Bayraşa
Ozan Bayraşa
Ömer Akkaya
Mert Çodur
Reşit Özkaplan
Ali Barış AtaMusic: Alper Narman
Ozan Bayraşa
Ömer Akkaya
Mert Çodur
Reşit Özkaplan
Ali Barış AtaArrangement: Ozan Bayraşa
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