Kaan Boşnak - Barbar - Chord

Key Eb major – C minor Chords Cm, G7, Fm, G Easy key C (capo 3)

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Capo 0

Cm
Yolunuzdan geçmem
G7
Ben bu b*ku para versen içmem
Cm              G7
Dalgalarım derindir dalarım vazgeçmem
Fm                   G
Gülüşün bana oksijen, göremezsem deliricem
Fm
Bebeğim gel bana sokul sana aşktan söz edicem

Cm
Gel güzelim bana gelsen
G7
Doğruyu yanlışı bulsam
      Cm
Ya da gönlüne asker gönderip
   G7
Barbar devletler kursam

Cm               G7
Bu dünya bomboş, hiçbir şeye üzülme değmez
Cm              G7
Ne yaparsan yap, kalbin değişmez
Fm                  G
O da hepten sana özel, göremesin onu kimseler
Fm                 G
Bana zaten ulaşamaz ancak bok atıp seyreder

Cm
Gel güzelim bana gelsen
G7
Doğruyu yanlışı bulsam
      Cm
Ya da gönlüne asker gönderip
   G7
Barbar devletler kursam

Cm  G7  Cm  G7
Fm  G   Fm  G

Cm                 G7
Geçtiğim yerlerden fışkırdı ağaçlar
Cm                G7
Çölün ortasındaki nil gibi
Fm                  G
Öyle ki sen anladın kalbimi ağırladın
Fm                        G
Ben de hiç düşünmeden sevdim seni

End of song Play again?

Kaan Boşnak - Barbar Tabs

NotesX

Harmony analysis

Kaan Boşnak – Barbar: key and chord analysis

The song opens on Cm and ends on G. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)
#7 = B (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 C minor side because it opens on Cm, Cm is heard 12 times while Eb never appears and the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	8×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V7/vi	G7	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D · F	12×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	7×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	12×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	12×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	8×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V7	G7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D · F	12×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	7×
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 39 times in total; 2 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G7 / G is V7/vi, a secondary dominant heading for Cm.

Chord movement

G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×8
Fm G Ebii → V/vi Cmiv → Viv → V ×7
G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×2
Fm Cm Ebii → vi Cmiv → iminor plagal ×1

The move to watch is G7 → Cm, heard 8 times. From the Cm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V7/vi → vi (secondary resolution: G7 resolves a fourth up to Cm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over G7, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
When G7 comes, swap the scale's Bb for B: 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
2 semitones up

The song's harmonic story

The opening Cm lays a solid floor for everything that follows. Cm, G7, Fm, G carry the song: vi–V7/vi–ii–V/vi relative to Eb, i–V7–iv–V relative to Cm. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on G7 → Cm (V7/vi → vi in Eb, V7 → i in Cm): harmonic-minor cadence — the major V resolves dramatically. It closes on G, letting the Eb side have the last word.

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.