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)
Redd - Boşver - Chord
Key Bb major – G minor Chords Gm, D, Cm, Eb, Bb, F Easy key C
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Key: Bb | Gm
Capo: 0
Cm D Gm
Cm D Gm
Mum kokuyordu odası sabaha doğru
Cm D Gm
Duvarlarda çiçekler asılmış kuruyordu
Cm D Gm
Masada eski hediyelerin boş kutuları
Cm D Gm
Belli ki atmaya kıyamıyordu
Eb D Gm
Elbiselerini kaldırıp bana yer açarken
Eb D Gm
Onu izliyordu gözlerim, çok güzeldi
Eb D Gm
Radyoyu açıp duruma uygun bir kanal buldu
Eb D Gm
Bir içki ister misin diye soru
Gm Eb Bb
Boş ver çok içtim yanıma gel
Cm D Gm
Boş ver zaten kafam güzel
Cm Eb Bb
Boş ver çok içtim yanıma gel
Cm D Gm
Boş ver zaten kafam güzel
Cm D Gm
Karbon kâğıdı konmuş gibi duyguların arasına
Cm D Gm
Birbirimize dokunduk sabırsızca
Cm D Gm
Gözlerine bakınca utandığını anlamak kolaydı
Cm D Gm
Ama durmadı öptü beni kısıp gözlerini
Eb D Gm
Elbiselerini çıkartıp saçlarına dokunurken
Eb D Gm
Onu kokladım içim ürperdi
Eb D Gm
Soluk soluğa yatıyordu terlemişti vücudu
Eb D Gm
Ve beklenen soruyu sordu
Gm Eb Bb
Boş ver sevdim de ne oldu
Cm D Gm
Boş ver böylesi daha güzel
Cm Eb Bb
Boş ver sevdim de ne oldu
Cm D Gm
Boş ver böylesi daha güzel
Cm D Gm
Elbiselerimi giyerken oda aydınlanıyordu
Eb D Gm
Ve güzelliği ışıkla eriyip gidiyordu
Eb F Bb
Çıkıp giderken beni izliyordu yatağından
Cm D Gm
Neden burda kalmıyorsun diye sordu
Gm Eb Bb
Boş ver bir taksi çağır giderim ben
Cm D Gm
Boş ver rahatını hiç bozma sen
Cm Eb Bb
Boş ver bir taksi çağır giderim ben
Cm D Gm
Boş ver böylesi daha güzel
Cm D Gm
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Redd - Boşver Tabs
NotesX
Harmony analysis
Redd – Boşver: key and chord analysis
The song opens on Cm and ends on Gm. 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)
- #7 = F# (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 G minor side because it comes to rest on Gm, Gm is heard 30 times against 7 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 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 | 7× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 21× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 27× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 16× |
| V | F | Dominant — strongest pull home | F · A · C | 1× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 30× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 30× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 7× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 21× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 27× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 16× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 1× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 102 times in total; 5 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm.
Chord movement
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×27
- Cm D Bbii → V/vi Gmiv → Viv → V ×18
- Eb Bb BbIV → Iplagal cadence GmVI → III ×6
- F Bb BbV → Iauthentic cadence GmVII → III ×1
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×1
The move to watch is D → Gm, heard 27 times. From the Gm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- When D comes, swap the scale's F for F#: 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 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 Cm lays a solid floor for everything that follows. The backbone is Gm, D, Cm, Eb — vi–V/vi–ii–IV from the Bb side, i–V–iv–VI from the Gm side. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → Gm (V/vi → vi in Bb, V → i in Gm): harmonic-minor cadence — the major V resolves dramatically. Ending on Gm, the song seals Gm 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.
Redd - Boşver 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: Doğan DuruMusic: Doğan Duru
Berke Hatipoğlu
Berke Hatipoğlu
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