Murat Boz - Gülistan - Chord

Key Db major – Bb minor Chords Fm, Ebm, Gb, Bbm, Ab Easy key C (capo 1)

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Capo 0

Fm                      Ebm       Fm
Bir sabah eksildi şehir, adı konmadı
                       Gb         Fm
Bir düş kaldı sokakta, kimse bulmadı
    Bbm
Gülüşün rüzgara karıştı 
Ab                Gb         Ebm         Fm
Üşür hala adın anılır, sesin gelmez Gülistan

Fm                  Ebm       Fm
Bir ana var kapısını hiç kapatmaz
                  Gb          Fm
Kalbi kırık içinde umut hiç bitmez
    Bbm          Ab
Her gün dua eder, yolunu gözler
        Gb         Ebm         Fm
Adın anılır, sesin gelmez Gülistan

Bbm                       Ab
Yağmur gibi düşer adın şehre
Fm                       Gb
Kor oldu ateş düştüğü yerde
Ebm                      Fm
Dön desem kardelenim nerede?
        Gb         Ebm         Fm
Adın anılır, sesin gelmez Gülistan

Bbm                       Ab
Yağmur gibi düşer adın şehre
Fm                       Gb
Kor oldu ateş düştüğü yerde
Ebm                      Fm
Dön desem kardelenim nerede?
        Gb         Ebm         Fm
Adın anılır, sesin gelmez Gülistan

End of song Play again?

Murat Boz - Gülistan Tabs

NotesX

Harmony analysis

Murat Boz – Gülistan: key and chord analysis

The song opens on Fm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 4 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	8×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	14×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	8×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	4×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	4×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	4×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	8×
v	Fm	Minor dominant — soft pull	F · Ab · C	14×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	8×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	4×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 38 times in total; 5 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

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×4

The move to watch is Fm → Bbm, heard 4 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Fm, land on F, Ab, C — 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.
Over Gb, land on Gb, Bb, Db — 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The first chord is Fm; the ear learns where home is within a second. The chords that keep coming back are Fm, Ebm, Gb, Bbm; read them as iii–ii–IV–vi in Db or v–iv–VI–i in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. It closes on Fm, letting the Db 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.