Gülşen - Ezberbozan - Chord

Key Bb major – G minor Chords Dm7, D#, Cm7, Gm, Dm, F, Gm7 Easy key C

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Dm7           Cm7         Dm7
Kavuşmak yüzdesi düşük varsayım
                  Cm7             Gm
Evet hep var olasılık nedir sanki kar payım
               Dm7      D#                Dm7
Anlamam küsürattan, düşelim mi bunu da aşktan
D#            Cm7               Dm
Bak yine şaşırdım düz hesap yapalım
    Gm         Dm7        D#                Dm7
Eldeki mühimmatla sağ çıkılır mı bu iç savaştan
Cm7           D#            Dm
Bak yine yenildik teslim olalım

Gm7                     Dm7
Sen hep tedbirler aldın ben gözü karaydım
F                      D#             Gm
Sen kadere razı dünden ben ezber bozandım
                         Dm7
Çok geç olmakla birlikte sevdiğime pişmanım
F                       D#         Gm
Sen boyun eğdiğinle kal ben isyandayım

End of song Play again?

Gülşen - Ezberbozan Tabs

NotesX

Harmony analysis

Gülşen – Ezberbozan: key and chord analysis

The song opens on Dm7 and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

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: to us the song feels closer to the G minor side because it comes to rest on Gm and Gm is heard 5 times while Bb never appears. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	4×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	8×
iii	Dm	Mediant — a tonic-family shade	D · F · A	2×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	D#	Subdominant — moves away from home	D# · G · A#	6×
V	F	Dominant — strongest pull home	F · A · C	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	4×
vi7	Gm7	Relative minor — the melancholy side	G · Bb · D · F	1×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	4×
i7	Gm7	Tonic — home	G · Bb · D · F	1×
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	4×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	8×
v	Dm	Minor dominant — soft pull	D · F · A	2×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	D#	Submediant — warm colour	D# · G · A#	6×
VII	F	Subtonic — steps back to the tonic	F · A · C	2×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 27 times in total; 7 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# Gm BbIV → vi GmVI → iVI → i ×2
Cm7 Gm Bbii7 → vi Gmiv7 → iminor plagal ×1
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
Dm Gm7 Bbiii → vi7 Gmv → i7natural-minor cadence ×1

The move to watch is D# → Gm, heard 2 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over D#, land on D#, G, 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.

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

Starting on Dm7, the song gives away its key from the very first bar. Dm7, D#, Cm7, Gm carry the song: iii7–IV–ii7–vi relative to Bb, v7–VI–iv7–i relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D# → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. The final chord is Gm; the ear comes to rest in Gm.

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.