Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Murat Boz - Çığlık - Chord
Key Db major – Bb minor Chords Bbm, Gbmaj7, Ab Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Gbmaj7 Bbm Gbmaj7
bbm
Bugüne kadar hep kaçtın
Sonu kedermiş aşkın
Gbmaj7 Ab
Aldırmam, korktuysan
Bbm
Neye niyet neye kısmet
Yarını görmeyi sabret
Gbmaj7 Ab
Aklında, kaldıysam
Bbm
Belki de zor, bunu anlamadık
Gbmaj7 Ab
Ya da sevmedik hiç, sever gibi yaptık
Bbm
Aynaya sor, nasıl söndü bu kor
Gbmaj7 Ab
Ne bi ses bi seda yok içinde mi çığlık
Bbm
Yüzünü göremedim aylar saydım
Savaşı yenemedi kalbim yandım
Gbmaj7 Ab
Aynı yolda bir başıma
Bbm
Konu kapalı açamadın hiç nerde
Ne bi delil ne bi kan var yerde
Gbmaj7 Ab
Gel yanıma, korkun yoksa
Bbm
Yüzünü göremedim aylar saydım
Savaşı yenemedi kalbim yandım
Gbmaj7 Ab
Aynı yolda bir başıma
Bbm
Konu kapalı açamadın hiç nerde
Ne bi delil ne bi kan var yerde
Gbmaj7
Nasıl savaş bu bi anlat
Ab Bbm
Görelim hadi beni yere ser de
End of song Play again?
Murat Boz - Çığlık Tabs
NotesX
Harmony analysis
Murat Boz – Çığlık: key and chord analysis
The song opens on Bbm and ends on Bbm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm and Bbm is heard 10 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IVmaj7 | Gbmaj7 | Subdominant — moves away from home | Gb · Bb · Db · F | 10× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 8× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 10× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 10× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VImaj7 | Gbmaj7 | Submediant — warm colour | Gb · Bb · Db · F | 10× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 8× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 3 different chords appear 28 times in total; 3 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
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×8
- Gbmaj7 Ab DbIVmaj7 → VIV → V BbmVImaj7 → VIIVI → VII ×8
- Gbmaj7 Bbm DbIVmaj7 → vi BbmVImaj7 → iVI → i ×1
The move to watch is Ab → Bbm, heard 8 times. From the Bbm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi (deceptive cadence: expected Db, lands on Bbm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Gbmaj7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Bbm; the ear learns where home is within a second. The backbone is Bbm, Gbmaj7, Ab — vi–IVmaj7–V from the Db side, i–VImaj7–VII from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bbm (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. The final chord is Bbm; the ear comes to rest in Bbm.
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 - Çığlık 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: İbrahim BaşaranMusic: İbrahim Küçükoğlu, İbrahim BaşaranArrangement: Ozan Çolakoğlu
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