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)
Burak Bulut - Sebebim Olma x Kurtuluş Kuş - Chord
Key Gb major – Eb minor Chords Ebm, Db, B, Abm, Bb, Bbm Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: Gb | D#m | Ebm
Capo: 0
Ebm Abm Bb Ebm
Ebm Abm
Acılarım yine sen kadar ben ölüm kokar kendim kadar
Db B
Sevdim seni sevdim seni
Ebm Abm Db Ebm
Gülüşünün suçu yokken suçuma ortak oldun sonu yok bu yolun bu yolun
Ebm B Db Ebm
Sebebim olmada ne olursan ol sigaram elimde tüttürüyorum yine yolumu kaybettim çıkışım yok
B Db Ebm
Sebebim olmada ne olursan ol sigaram elimde tüttürüyorum yine yolumu kaybettim çıkışım yok
Ebm B Db Ebm
Ebm Abm Db B Bbm
Günaha kılıflar arıyoruz artık suçluysak yarı yarıya ya güneş doğarsa yarın var kala kalırlar bitsin
Ebm Abm Db B
Akıl karımı seni düşlemek bana bir günde söylesen seni özledim ben zormuş beklemek
Ebm B Db Ebm
Sebebim olmada ne olursan ol sigaram elimde tüttürüyorum yine yolumu kaybettim çıkışım yok
B Db Ebm
Sebebim olmada ne olursan ol sigaram elimde tüttürüyorum yine yolumu kaybettim çıkışım yok
End of song Play again?
Burak Bulut - Sebebim Olma x Kurtuluş Kuş Tabs
NotesX
Harmony analysis
Burak Bulut – Sebebim Olma x Kurtuluş Kuş: 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.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
- #7 = D (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 Eb minor side because it both starts and finishes on Ebm, Ebm is heard 15 times while Gb never appears and the major V chord points straight at Ebm. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 5× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 1× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | 1× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 8× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 9× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 15× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 15× |
| 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 | 5× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 1× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | 1× |
| VI | B | Submediant — warm colour | B · D# · F# | 8× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 9× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 39 times in total; 5 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb is V/vi, a secondary dominant heading for Ebm.
Chord movement
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×6
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×5
- Abm Db Gbii → Vii → V Ebmiv → VII ×4
- B Ebm GbIV → vi EbmVI → iVI → i ×2
- Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×1
- Abm Bb Gbii → V/vi Ebmiv → Viv → V ×1
The move to watch is Db → Ebm, heard 6 times. From the Ebm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Gb side it reads V → vi (deceptive cadence: expected Gb, lands on Ebm). 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- When Bb comes, swap the scale's Db for D: 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 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
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
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 Ebm, Db, B, Abm; read them as vi–V–IV–ii in Gb or i–VII–VI–iv in Ebm. Bb is the interesting twist: in Gb it is a chromatic chord (V/vi), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Db → Ebm (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. It closes on Ebm, letting the Ebm 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.
Burak Bulut - Sebebim Olma x Kurtuluş Kuş 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Burak BulutMusic: Burak Bulut
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.