Murat Boz - Sallana Sallana - Chord

Key Eb major – C minor Chords G#, Gm, Bb, Fm, Cm, G Easy key C (capo 3)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Cm              Bb
Gönlüm usandı sana zar zor dayandı
      G#                 Gm
Tabi ben de üzüldüm ama yandıysa yandı

      Gm         G#
Benim olan senin ama
       Gm         G# 
Senin olan benim değil
         Fm              Gm
Yani kalbinde bana bir yer yok

      Gm          G#
Belki biraz sustum ama
        Gm       G#  
Sözlerini yuttum değil
        Fm             Gm   G#  Bb
Bak bu yangından geriye eser yok    

Cm              Bb
Gönlüm usandı sana zar zor dayandı
      G#                 Gm
Tabi ben de üzüldüm ama yandıysa yandı

Cm
Ben burda yarına küsmüşüm
        G#
Yürüyorum yolda sallana sallana
G
Derdinle zindana düşmüşüm
       Fm               G#   Bb
Bitti hakkım da kullana kullana

      Gm          G#
Belki biraz sustum ama
        Gm       G#  
Sözlerini yuttum değil
        Fm             Gm   G#  Bb
Bak bu yangından geriye eser yok

End of song Play again?

Murat Boz - Sallana Sallana Tabs

NotesX

Harmony analysis

Murat Boz – Sallana Sallana: key and chord analysis

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

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)
#7 = B (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 C minor side because it opens on Cm, Cm is heard 3 times while Eb never appears and the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	11×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	1×
IV	G#	Subdominant — moves away from home	G# · B# · D#	12×
V	Bb	Dominant — strongest pull home	Bb · D · F	5×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	3×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	3×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	4×
v	Gm	Minor dominant — soft pull	G · Bb · D	11×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	1×
VI	G#	Submediant — warm colour	G# · B# · D#	12×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	5×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 36 times in total; 5 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm.

Chord movement

G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×3
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1

The move to watch is G# → Bb, heard 3 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over G#, land on G#, B#, D# — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
When G comes, swap the scale's Bb for B: 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The opening Cm lays a solid floor for everything that follows. The chords that keep coming back are G#, Gm, Bb, Fm; read them as IV–iii–V–ii in Eb or VI–v–VII–iv in Cm. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G# → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. The final chord is Bb; the ear comes to rest in Eb.

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.