Manuş Baba - Haberin Var mı - Chord

Key Eb major – C minor Chords Gm, Bb, Eb, D, F Easy key F

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Capo 0

Gm   F   Gm   F   Gm

Gm    Bb        Eb     D
Haberin var mı taş duvar
Gm     Bb     Eb      D
Demir kapı, kör pencere
Gm        Bb      Eb      D
Yastığım, ranzam, zincirim
Gm      Bb       Eb         D
Uğrunda ölümlere gidip geldiğim
Gm     Bb    Eb      D
Zulamdaki mahzun resim
Gm      Bb           Eb        D
Görüşmecim, yeşil soğan göndermiş

Gm                F
Karanfil kokuyor cigaram cigaram
Gm               F
Dağlarına bahar gelmiş memleketimin

End of song Play again?

Manuş Baba - Haberin Var mı Tabs

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Harmony analysis

Manuş Baba – Haberin Var mı: key and chord analysis

The song opens on Gm and ends on F. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb major side because Eb is heard 6 times while Cm never appears. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

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	6×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
V/V	F	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	11×
III	G	Chromatic colour chordoutside the key	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	6×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	—
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	6×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	—
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	6×
III	Eb	Relative major — the bright side	Eb · G · Bb	6×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	4×
v	Gm	Minor dominant — soft pull	G · Bb · D	11×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	6×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 33 times in total; 3 of them sit naturally inside the shared scale. D, F act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

Bb Eb EbV → Iauthentic cadence CmVII → III ×6

The move to watch is Bb → Eb, heard 6 times. From the Eb side it reads V → I (authentic cadence: the strongest arrival home); from the Cm side it is VII → III. 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, 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 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

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

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. Gm, Bb, Eb, D carry the song: iii–V–I–V/iii relative to Eb, v–VII–III–V/v relative to Cm. D adds a moment of surprise: secondary dominant V/iii — leads to Gm. Keep an ear on Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. It closes on F, 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.