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)
Zeynep Bastık - Toz Duman (Sefo) - Chord
Key Bb major – G minor Chords Ebmaj7, Dm7 Easy key C
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Key: Bb | Gm
Capo: 0
Ebmaj7 Ebmaj7 Dm7 Dm7
Ebmaj7
Senin aşkın toz duman, toz duman, toz duman
Dm7
Nerden baksan korkutan, solduran, donduran bir şey
Ebmaj7
Senin aşkın toz duman, toz duman, toz duman
Dm7
Ben yanacağım sonsuza kadar
Ebmaj7 Dm7
Sandım seni, yanımda yokken, hiç hesapta yokken
Ebmaj7 Dm7
Duydum çok sahte sözler ve fesatlı gözler, farklı gözler
Ebmaj7
Kaldıramam, yıktılar ya, kaldı yerde, kaldıramam
Dm7
Herkes kaçtı, dil tutuldu, sen kazandın, ben kazanmam
Ebmaj7
En son trendi, durduramam, olduğum yerde kaldım anla
Dm7
Onlar haklı bir gramla, bir sınav, bu bir travma
Ebmaj7
Senin aşkın toz duman, toz duman, toz duman
Dm7
Nerden baksan korkutan, solduran, donduran bir şey
Ebmaj7
Senin aşkın toz duman, toz duman, toz duman
Dm7
Ben yanacağım sonsuza kadar
Ebmaj7 Dm7
Birden, birden bire, karşımda seni görsem, görsem
Sana körsem, körsem
Ebmaj7 Dm7
Dilden, dilden dile anlatsam, benim olsan, olsan
Sana doysam, doysam
Ebmaj7 Dm7
Onu bıraktığım, dağıttığımda gel benim ol
Ebmaj7
Canımı yaktın abarttın her yerim o
Dm7
Hep o tuzaklı yoldan giderim oo
Ebmaj7
Bi kokunu bakışını bulurum diye
End of song Play again?
Zeynep Bastık - Toz Duman (Sefo) Tabs
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Harmony analysis
Zeynep Bastık – Toz Duman (Sefo): key and chord analysis
The song opens on Ebmaj7 and ends on Ebmaj7. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 14× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 15× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| 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 | — |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 14× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 15× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 2 different chords appear 29 times in total; 2 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — 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
The opening Ebmaj7 lays a solid floor for everything that follows. Ebmaj7, Dm7 carry the song: IVmaj7–iii7 relative to Bb, VImaj7–v7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Ebmaj7; 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.
Zeynep Bastık - Toz Duman (Sefo) 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: Sefo
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