Murat Boz - Harbi Güzel - Chord

Key Gb major – Eb minor Chords Bmaj7, Abm, Ebm, Bbm Easy key C (capo 6)

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Capo 0

Bmaj7        Abm
Cennetten bi parça
  Ebm          Bbm
Nasıl güvenmez insan
Bmaj7        Abm
Pelerin gibi örtsen beni
Ebm              Bbm
Hiç de bi şeyden korkmam

Bmaj7  Abm  Ebm  Bbm
Çal, çal, çal

Bmaj7   Abm       Ebm        Bbm
Yavaş yavaş ısınsana, alış bana
Bmaj7    Abm          Ebm        Bbm
Serin serin, derin derin karış bana

Bmaj7         Abm
Rüzgârı avla, dümenini rüzgâra bağla
Ebm             Bbm
Oyununu oyna, yenilmem asla
Bmaj7            Abm
Kor gibi kumlar, bilemem kim kimi sollar
Ebm
Çağırır beni yollar (yollar)

        Bmaj7
Harbi güzel (gel)

Su güzel de (üfle)
Abm       Ebm 
Yüreğimde sönmeyen alev
Bbm          Bmaj7
Deryada denizde (bi’ bak)
          Abm
Bedenin de (hisset) ötesinde
Ebm            Bbm             Bmaj7
Çıldırtan yanı arkadaş harbi güzel

Bmaj7  Abm  Ebm  Bbm

Bmaj7    Abm          Ebm        Bbm
Serin serin, derin derin karış bana

End of song Play again?

Murat Boz - Harbi Güzel Tabs

NotesX

Harmony analysis

Murat Boz – Harbi Güzel: key and chord analysis

The song opens on Bmaj7 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 11 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	11×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	10×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IVmaj7	Bmaj7	Subdominant — moves away from home	B · D# · F# · A#	12×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	11×
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	11×
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	11×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	10×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VImaj7	Bmaj7	Submediant — warm colour	B · D# · F# · A#	12×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	—

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 44 times in total; 4 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

Abm Ebm Gbii → vi Ebmiv → iminor plagal ×11

The move to watch is Abm → Ebm, heard 11 times. From the Ebm side it is iv → i (minor plagal: deep and melancholic); from the Gb side it reads ii → 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 Bmaj7, land on B, D#, 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 Ebm, land on Eb, Gb, Bb — 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 Bmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Bmaj7, Abm, Ebm, Bbm; read them as IVmaj7–ii–vi–iii in Gb or VImaj7–iv–i–v in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm → Ebm (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. Ending on Bbm, the song seals Gb as home.

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.