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)
Naz Ölçal - Bir Emir - Chord
Key Bb major – G minor Chords Gm, Eb, Ab, Cm, Fm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Cm
Bir okyanus ortasında, boğuluyormuş gibiyim
Gm Ab Fm Gm
Batmadan daha derine, gel kurtar, bul beni
Cm
Bıraktığın gibi her yer, yine kırık o şişelerde
Gm Ab Fm Gm Ab
Aradığım bir yudum mutluluk, sende kalmış, doyurmamış
Gm Eb Gm
Kalma, durma öyle sessiz, sessiz gitme yine
Eb Gm
Bırakma, lütuf değil bu, bir emir benden sana
Eb Gm
Gitme, bakma öyle, kötü gitme yine
Eb m Eb
Bırakma, lütuf değil bu, bir emir benden sana
Gm Eb
Benden sana
End of song Play again?
Naz Ölçal - Bir Emir Tabs
NotesX
Harmony analysis
Naz Ölçal – Bir Emir: key and chord analysis
The song opens on Gm and ends on Eb. 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: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 10 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 2× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 4× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| v | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 10× |
| bVII | Ab | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Ab · C · Eb | 3× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 10× |
| bII | Ab | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Ab · C · Eb | 3× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 2× |
| 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 | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 4× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
| vii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 21 times in total; 3 of them sit naturally inside the shared scale. Ab is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Eb Gm BbIV → vi GmVI → iVI → i ×3
- Cm Gm Bbii → vi Gmiv → iminor plagal ×2
The move to watch is Eb → Gm, heard 3 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- On Ab, follow the chord's notes (Ab · C · Eb) rather than the key's scale — it's a borrowed colour.
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
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, Eb, Ab, Cm; read them as vi–IV–bVII–ii in Bb or i–VI–bII–iv in Gm. Ab briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. The final chord is Eb; the ear comes to rest in Bb.
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.
Naz Ölçal - Bir Emir 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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