Murat Boz - Öldür Beni Sevgilim - Chord

Key Gb major – Eb minor Chords Bbm, Abm, B, Db, Ebm Easy key C (capo 6)

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Capo 0

Bbm  Abm  Abm  Bbm

Bbm                      Abm
Senin hünerli gönlüne düşmem suç mu
                              Bbm
Bi düşün bu gözlerim ıslak mı kuru mu
                             Abm
Ufalanır canım hasatı acıydı bu aşkın
                               Bbm
Toz dumanda yürüdüm doyulmazdı kumsalın

      Ebm                    B
Laf aramızda özleniyosun buralarda
     Db                    Bbm
Siyahtan da siyahtı dalgaların
      Ebm                        Abm
Canım yanıyor senden ne haber orada
       Db      B             Bbm
Ne çok değiştin seni zor tanıdım

   Ebm
Görmedim bu zamana kadar
   B
Kalbin ne kadar da büyük
         Db
Koca bir İstanbul sanki
     Bbm
Hem yeni hem kırık dökük

     B
Ne aşklar sığdırdık içimize
Abm
Ölmedik be güzelim
     Db           B
Hadi vur beni sen yak beni
  Abm           Bbm
Öldür beni sevgilim

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Murat Boz - Öldür Beni Sevgilim Tabs

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Harmony analysis

Murat Boz – Öldür Beni Sevgilim: key and chord analysis

The song opens on Bbm and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

Major view

Gb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

Eb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Cb (the minor's melancholy)
b7 = Db (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb minor side because Ebm is heard 3 times while Gb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	7×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	9×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	5×
V	Db	Dominant — strongest pull home	Db · F · Ab	4×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	3×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	3×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	7×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	9×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	B	Submediant — warm colour	B · D# · F#	5×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	4×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 28 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

Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×3
B Db GbIV → VIV → V EbmVI → VIIVI → VII ×2
Abm Db Gbii → Vii → V Ebmiv → VII ×2

The move to watch is Bbm → Ebm, heard 3 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — 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 Gb major shapes

Capo 2 + E shapes
Capo 4 + D shapes
Capo 6 + C shapes

With Eb minor shapes

Capo 1 + Dm shapes
Capo 6 + Am shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone up

The song's harmonic story

The opening Bbm lays a solid floor for everything that follows. The chords that keep coming back are Bbm, Abm, B, Db; read them as iii–ii–IV–V in Gb or v–iv–VI–VII in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. The final chord is Bbm; the ear comes to rest in Gb.

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.