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)
Murat Boz - Aşk Bizden Geçti - Chord
Key Bb major – G minor Chords Gm, F, Ebmaj7, Cm, Dm, Fm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Ebmaj7 Fm Gm
Ebmaj7 F Gm
Bir el değdi, biz düştük
Cm Dm Gm
Aşk tutsak kaldı orda
Ebmaj7 F Gm
Kaybooolduk biz bir ömürlük
Cm Dm Gm
Son sevda yangınında
Gm
Ah haksız hayat
Dm Cm
Vur, sevenleri ağlat
F Ebmaj7
Her aşk biter bir gün
Dm Cm Gm
Geeeel de yüreğime anlat
Cm Gm F
Aşk bizden geçti, sevmek suçtu
Ebmaj7 F Gm
Bir yol yoktu, yine kaybettik
Cm Gm F
Aşk bizden geçti, sevmek suçtu
Ebmaj7 F Gm
Hiç yol yoktu, yine kaybettik
End of song Play again?
Murat Boz - Aşk Bizden Geçti Tabs
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Harmony analysis
Murat Boz – Aşk Bizden Geçti: key and chord analysis
The song opens on Ebmaj7 and ends on Gm. 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 it comes to rest on Gm and Gm is heard 11 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 6× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 4× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 6× |
| V | F | Dominant — strongest pull home | F · A · C | 7× |
| v | Fm | Chromatic colour chordoutside the key | F · Ab · C | 1× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 11× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 11× |
| 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 | 6× |
| v | Dm | Minor dominant — soft pull | D · F · A | 4× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 6× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 7× |
| vii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 1× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 35 times in total; 5 of them sit naturally inside the shared scale. Fm step outside the scale as colour chords.
Chord movement
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
- Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×4
- Cm Gm Bbii → vi Gmiv → iminor plagal ×3
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×2
- Cm F Bbii → Vii → V Gmiv → VII ×1
The move to watch is F → Gm, heard 4 times. 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 Gm, land on G, Bb, D — 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.
- Over Ebmaj7, land on Eb, G, 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 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
Starting on Ebmaj7, the song gives away its key from the very first bar. The backbone is Gm, F, Ebmaj7, Cm — vi–V–IVmaj7–ii from the Bb side, i–VII–VImaj7–iv 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 Gm; the ear comes to rest in Gm.
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 - Aşk Bizden Geçti 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: Günay ÇobanMusic: Serkan İzzet ÖzdoğanArrangement: Gürsel Çelik
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