Murat Boz - Bi Kerecik - Chord

Key Gb major – Eb minor Chords Bbm, Ebm, Abm, Bmaj7 Easy key C (capo 6)

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Capo 0

Ebm
Yine diyorum kalbime, unut gitsin diye
Abm                       Bbm
Hep mi imkansıza düşer bi gönül acaba niye

Ebm
Ne iyi geldi şu an sonunu bile bile
Abm                    Bbm
Bir kaç dakikalığına öldüm gözlerinde

Abm                 Bbm
Unut deme ne olur yine
                       Abm              Ebm
Sensiz nasıl yaşanır bana bir akıl versene

Ebm        Bbm
Zor tutuyorum kendimi
Ebm        Bbm
Gitmemek için kapısına
Ebm           Bbm           Abm
Bilsem ki verecek bi cevabı olsa
  Bbm
Durur muyum burda

Ebm       Bbm        Bmaj7
Suçlamıyorum ki ben onu
       Bbm
Kendim düştüm bu aşka
Abm    Bbm         Bmaj7
Umutta yok istese arardı
Bbm            Ebm
Bi' kerecik olsa

End of song Play again?

Murat Boz - Bi Kerecik Tabs

NotesX

Harmony analysis

Murat Boz – Bi Kerecik: key and chord analysis

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

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)

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 it both starts and finishes on Ebm and Ebm is heard 8 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	6×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	11×
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#	2×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	8×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	8×
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	6×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	11×
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#	2×
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 27 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

Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×5
Abm Ebm Gbii → vi Ebmiv → iminor plagal ×1

The move to watch is Bbm → Ebm, heard 5 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → 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 Bbm, land on Bb, Db, F — 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.
Over Abm, land on Ab, Cb, 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 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 first chord is Ebm; the ear learns where home is within a second. The chords that keep coming back are Bbm, Ebm, Abm, Bmaj7; read them as iii–vi–ii–IVmaj7 in Gb or v–i–iv–VImaj7 in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. The final chord is Ebm; the ear comes to rest in Ebm.

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.