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)
Burak Bulut - Bipolar (Kurtuluş Kuş) - Chord
Key Gb major – Eb minor Chords Ebm, B, Bbm, Db, D Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Db B Bbm
Ebm Db
Bana gidiyorum dedi
B Bbm
Nereye dedim, sana ne dedi
Ebm
Güldüm
Db B Bbm
Bipolarım benim sev yeter ki kefili benim
Ebm D
Kekem, kefili olursa aşk mı kalır
B Bbm
Bilmezler aşk kötüden yanadır
Ebm Db
Her detayı bana tam donanım
B Bbm
Onu düşünmemek bunun tek kuralı
Ebm Db
Ulan, kuralı olursa aşk mı olur
B Bbm
Ona aşk mı denir sana aşk mı olur
Ebm Db
Bende şeref var sende gurur
B Bbm
Tabi bende olmayan sende olur
Ebm Db
Ne olur bana eskisi gibi gül
B Bbm
N'olur n'olur
Ebm Db
Doldur aşkın şarabından
B Bbm
Doldur doldur
End of song Play again?
Burak Bulut - Bipolar (Kurtuluş Kuş) Tabs
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Harmony analysis
Burak Bulut – Bipolar (Kurtuluş Kuş): key and chord analysis
The song opens on Ebm and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
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 it opens on Ebm and Ebm is heard 9 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| 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# | 9× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 8× |
| bVI | D | Borrowed from the parallel minorborrowed chord | D · F# · A | 1× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 9× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 9× |
| 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 | — |
| 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# | 9× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 8× |
| #VII | D | Chromatic colour chordoutside the key | D · F# · A | 1× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 36 times in total; 4 of them sit naturally inside the shared scale. D is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×8
The move to watch is Bbm → Ebm, heard 8 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 Ebm, land on Eb, Gb, Bb — 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.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- On D, follow the chord's notes (D · F# · A) 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 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
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is Ebm; the ear learns where home is within a second. The backbone is Ebm, B, Bbm, Db — vi–IV–iii–V from the Gb side, i–VI–v–VII from the Ebm side. D briefly darkens the picture: borrowed from the parallel minor. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. 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.
Burak Bulut - Bipolar (Kurtuluş Kuş) 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: Burak BulutMusic: Burak BulutArrangement: Mustafa Ceceli
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