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)
Can Bonomo - Sihirbaz - Chord
Key Bb major – G minor Chords Gm, Cm, Eb, D7 Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Cm Eb D7
Gm
Dedem çok yaşlıydı
Ve öldü tabii ki birden
Eb
Yapacak bir şey yok
D7
Sıkıldı babamı dinlerken
Gm
Ne olmak istersin demişti
Cm
Onca şey içinden
Eb D7
Gözün korkmasın sakın binlerce seçimden
Gm Cm
Boksör ol istersen aslanım sana uyar
Eb D7
Şarkı söyle sokaklarda belki biri duyar
Gm
Pilotlar evde durmaz
Cm
İyiler pek kazanmaz
Eb
Tıpta saatler esnek
D7
Yine de en güzel meslek
Gm Cm
Sihirbaz
Eb
Salla değneğini
D7
Belki siler belleğini yo
Gm Cm
Sihirbaz
Eb
Sefalet açlık ve zam
D7
Hokus pokus alakazam
Gm Cm
Sihirbaz
Eb
Çıkar dertleri şapkadan
D7
Kaybet hiçkimse bakmadan
Gm Cm
Sihirbaz
Eb
Ver yemini tavşanın
D7
Ne günün var ne akşamın
Gm
Çocukken farklıydım
Cm
Parayla işim yoktu
Eb
Kapitalist şişman toplum
D7
Jetonumu yuttu
Gm Cm
Gm
Ne olmak istersin demişti
Cm
Onca şey içinden
Eb D7
Gözün korkmasın sakın binlerce seçimden
Gm Cm
İmparator ol uygarlık sana uysun
Eb D7
Tiran ol istersen ceddinin karnı doysun
Gm
Zenginler buyurur
Cm
İktidar doyurur
Eb
Olmaz insana küsmek
D7
Yine de en güzel meslek
Gm
Adına sanına bakma ötele
Cm
Sevgi bilmez ayıları
Eb
Sapma yoluna girme koluna
D7
Kaç kişiyse sayıları
Gm
Tatava yapana kafanı takma
Cm
Sakın ha derde düşme dur
Eb
Gözüne kaşına yaşama boşuna
D7
Çalış işin ne voila puff
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Can Bonomo - Sihirbaz Tabs
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Harmony analysis
Can Bonomo – Sihirbaz: key and chord analysis
The song opens on Gm and ends on D7. 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)
- #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 opens on Gm, Gm is heard 16 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 15× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 15× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 15× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 15× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 15× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 15× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 61 times in total; 3 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 D7 is V7/vi, a secondary dominant heading for Gm.
Chord movement
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×14
- Cm Gm Bbii → vi Gmiv → iminor plagal ×1
The move to watch is D7 → Gm, heard 14 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — 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.
- When D7 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, Cm, Eb, D7; read them as vi–ii–IV–V7/vi in Bb or i–iv–VI–V7 in Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. The final chord is D7; 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.
Can Bonomo - Sihirbaz 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: Can BonomoMusic: Can Bonomo
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