Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Murat Kekilli - Alır Seni Boşarım - Chord
Key Db major – Bb minor Chords Fm, A#m, G#, D#m, F# Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm A#m Bir kuşak bağlamış saçağı dizinde Fm A#m Arzumanım kaldı gavur kız sende D#m A#m Yarısı gerdanında yarısı yüzünde G# F# Fm Koklanmaz gülleri diken üstünde Fm A#m Oğlan seni babam duyar öldürür Fm G# A#m Beyden önce padişaha haber saldırır D#m A#m En sonunda bir bir kolun kırdırır G# F# Fm Mevlanın sevgili kulu olsanda Fm A#m Fm Binerim atıma bende kaçarım Fm D#m A#m Kaçarımda karlı dağlar geçerim D#m A#m Ahtım olsun seni alır boşarım G# F# Fm Oniki padişahın kızı olsan da G# F# Fm Oniki padişahın kızı olsan da
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Murat Kekilli - Alır Seni Boşarım Tabs
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Harmony analysis
Murat Kekilli – Alır Seni Boşarım: key and chord analysis
The song opens on Fm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 9 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii | D#m | Supertonic — prepares the dominant | D# · F# · A# | 4× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 11× |
| V/vi | F | Secondary dominant V/vi — leads to A#msecondary dominant | F · A · C | — |
| IV | F# | Subdominant — moves away from home | F# · A# · C# | 4× |
| V | G# | Dominant — strongest pull home | G# · B# · D# | 5× |
| vi | A#m | Relative minor — the melancholy side | A# · C# · E# | 9× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | A#m | Tonic — home | A# · C# · E# | 9× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | D#m | Subdominant — moves away from home | D# · F# · A# | 4× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 11× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | F# | Submediant — warm colour | F# · A# · C# | 4× |
| VII | G# | Subtonic — steps back to the tonic | G# · B# · D# | 5× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 33 times in total; 5 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
- D#m A#m Dbii → vi Bbmiv → iminor plagal ×4
- Fm A#m Dbiii → vi Bbmv → inatural-minor cadence ×4
- G# A#m DbV → videceptive cadence BbmVII → iAeolian arrival ×1
The move to watch is D#m → A#m, heard 4 times. From the Bbm side it is iv → i (minor plagal: deep and melancholic); from the Db side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
- Over G#, land on G#, B#, D# — 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. The backbone is Fm, A#m, G#, D#m — iii–vi–V–ii from the Db side, v–i–VII–iv from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D#m → A#m (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. Ending on Fm, the song seals Db 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.
Murat Kekilli - Alır Seni Boşarım 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: KaracaoğlanMusic: Murat KekilliArrangement: Ahmet Koç
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