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)
Kurtuluş Kuş - Cennet x Nezaket Kuş - Chord
Key Bb major – G minor Chords Dm7, Cm7, Ebmaj7 Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Dm7 Ebmaj7
Dm7 Ebmaj7
Aşkın rüzgarı safi kader hep sevene oluyo mani
Cm7 Dm7
Sensiz nefes almanın bu kadarı bana kâfi
Cm7
Yokluğun da kokunu alınca sersem eder
Dm7
İçimde geceleri durmuyo zelzeleler
Ebmaj7 Cm7
Kalmadı gönlümde inan merheme yer
Dm7
Kalbimi sardı çoktan umutsuzluk bir de şer
Dm7 Cm7
Ben zaten kül olmuşum cehennem bile daha bizi tutuşturamaz
Ebmaj7 Dm7
Biz zaten güz olmuşuz cennet bile daha bizi kavuşturamaz
Dm7 Cm7
Ben zaten kül olmuşum cehennem bile daha bizi tutuşturamaz
Ebmaj7 Dm7
Biz zaten güz olmuşuz cennet bile daha bizi kavuşturamaz
Dm7 Dm7 Cm7 Cm7 Dm7 Dm7 Cm7 Cm7
End of song Play again?
Kurtuluş Kuş - Cennet x Nezaket Kuş Tabs
NotesX
Harmony analysis
Kurtuluş Kuş – Cennet x Nezaket Kuş: key and chord analysis
The song opens on Dm7 and ends on Cm7. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 9× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 13× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 5× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 9× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 13× |
| 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 | 5× |
| 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). 3 different chords appear 27 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Dm7 lays a solid floor for everything that follows. The chords that keep coming back are Dm7, Cm7, Ebmaj7; read them as iii7–ii7–IVmaj7 in Bb or v7–iv7–VImaj7 in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Cm7, the song seals Bb as home.
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.
Kurtuluş Kuş - Cennet x Nezaket 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: Doğanay Karadeniz, Kubilay KaradenizMusic: Doğanay Karadeniz, Kubilay KaradenizArrangement: İbrahim Küçükoğlu
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.