Major view
B major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A# (leading tone, pulls home)
- 4 = E (the note that leans on the 3rd)
Bağzıları - Gözlerimi Al Kurtar - Chord
Key B major – G# minor Chords Emaj7, Bmaj7 Easy key A (capo 2)
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Key: B | Abm | G#m
Capo: 0
Emaj7 Bmaj7 Emaj7 Bmaj7
Emaj7
Bu rüzgarlar senin, bırak kendini
Bmaj7
Gölgem arkanda, yasla sırtını
Emaj7
Uzan boşluğa, tutsun ellerim
Bmaj7
Anlat sen, dinler gözlerim
Emaj7
Yok bir çözümü, biliyorum ben de
Bmaj7
Ama gitmezsen bugün, çözülücez ikimiz de
Emaj7
Her şeyi sen gören, gözlerimi al kurtar
Bmaj7
Bırakma bana böyle, sakla nefesinde
Emaj7
Bekle beni sen, demişti o gün
Bmaj7
Bekledim ben de, gelmedi oysa
Emaj7
Gözleri güzel gülerdi öyle
Bmaj7
Hep bi telaşlı, gitme peşinde
Emaj7
Sözler uçuyor, kuşlar konuyor
Yüzler eskiyor, günler geçiyor
Bmaj7
Senden bir haber yok
Emaj7
Dünya dönüyor, filmler çıkıyor
Dertler bitiyor, yıllar geçiyor
Bmaj7
Bende bir heves yok
Emaj7
Bekle beni sen, demişti o gün
Bmaj7
Bekledim ben de, gelmedi oysa
Emaj7
Gözleri güzel gülerdi öyle
Bmaj7
Hep bi telaşlı, gitme peşinde
End of song Play again?
Bağzıları - Gözlerimi Al Kurtar Tabs
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Harmony analysis
Bağzıları – Gözlerimi Al Kurtar: key and chord analysis
The song opens on Emaj7 and ends on Bmaj7. Its chords belong to both B major and G#m, so every chord below is read both ways.
Minor view
G# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = E (the minor's melancholy)
- b7 = F# (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B major side because it comes to rest on B and B is heard 12 times while G#m never appears. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to B or to G#m; 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 |
|---|---|---|---|---|
| Imaj7 | Bmaj7 | Tonic — home | B · D# · F# · A# | 12× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| III | D# | Chromatic colour chordoutside the key | D# · G · A# | — |
| IVmaj7 | Emaj7 | Subdominant — moves away from home | E · G# · B · D# | 12× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | — |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | — |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| IIImaj7 | Bmaj7 | Relative major — the bright side | B · D# · F# · A# | 12× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VImaj7 | Emaj7 | Submediant — warm colour | E · G# · B · D# | 12× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | — |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 2 different chords appear 24 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
- Emaj7 Bmaj7 BIVmaj7 → Imaj7plagal cadence G#mVImaj7 → IIImaj7 ×12
The move to watch is Emaj7 → Bmaj7, heard 12 times. From the B side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the G#m side it is VImaj7 → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
- Over Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over Bmaj7, 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 B major shapes
- Capo 2 + A shapes
- Capo 4 + G shapes
- Capo 7 + E shapes
With G# minor shapes
- Capo 4 + Em shapes
- Capo 6 + Dm shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is Emaj7; the ear learns where home is within a second. The backbone is Emaj7, Bmaj7 — IVmaj7–Imaj7 from the B side, VImaj7–IIImaj7 from the G#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Emaj7 → Bmaj7 (IVmaj7 → Imaj7 in B, VImaj7 → IIImaj7 in G#m): plagal cadence — the soft 'amen' ending. It closes on Bmaj7, letting the B 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.
Bağzıları - Gözlerimi Al Kurtar 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: Ömer Naldemir - Cemal ÇildirMusic: Ömer NaldemirArrangement: Ömer Naldemir
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