Mor ve Ötesi - Nakba - Chord

Key Bb major – G minor Chords D, Gm, Cm7, F, Cm Easy key C

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Capo 0

D        Gm      Cm7   F
Karanlık kördü adım yoktu
D       Gm      Cm7    F
Hakkımı aldım zaten çoktu
D        Gm   D       Gm
Gel bana anlat yaptığını
Cm7               D        Gm
Benim ne yapınca abarttığımı

       Cm7    D       Gm
Kutlayanım var ağlayanım da
Cm7               D
Bak sana bayram bana bomba
       Cm7   D         Gm
Kutlayamazsan agla yanımda
Cm              D        Gm
Ruhumu al da yüzleş aklınla

Gm  D         Gm      Cm7    F
      Yangını gördüm adım çoktu
D        Gm      Cm7    F
 Hakkını aldım zaten yoktu
D         Gm   D       Gm
 Gel bana anlat yaptığımı
Cm7               D       Gm
 Seni de yakınca abarttığımı

End of song Play again?

Mor ve Ötesi - Nakba Tabs

NotesX

Harmony analysis

Mor ve Ötesi – Nakba: key and chord analysis

The song opens on D and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (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 G minor side because it comes to rest on Gm, Gm is heard 14 times while Bb never appears and the major V chord points straight at Gm. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	9×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	1×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	14×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	4×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	14×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	14×
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	9×
iv	Cm	Subdominant — moves away from home	C · Eb · G	1×
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	14×
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	4×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 42 times in total; 4 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm.

Chord movement

D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×13
Cm7 D Bbii7 → V/vi Gmiv7 → Viv → V ×5
Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×4
Cm D Bbii → V/vi Gmiv → Viv → V ×1

The move to watch is D → Gm, heard 13 times. From the Gm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V/vi → vi. 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
When D comes, swap the scale's F for F#: 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 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

The opening D lays a solid floor for everything that follows. The backbone is D, Gm, Cm7, F — V/vi–vi–ii7–V from the Bb side, V–i–iv7–VII from the Gm side. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → Gm (V/vi → vi in Bb, V → i in Gm): harmonic-minor cadence — the major V resolves dramatically. It closes on Gm, letting the Gm 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.