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)
Murat Boz - A Be Kaynana - Chord
Key Eb major – C minor Chords G, G# Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
G G# G Sevenleri sevdiğine vermediler vermediler G# Güzel yüzlüm şirin sözlüm çok gördüler çok gördüler G Onsuz geçmez bugünlerim,bugünlerim, bugünlerim G# Gözüm gönlüm seni arıyor, baba vermiyor, ana vermiyor G A be kaynana ne yaptın bize ne yaptın bize ne yaptın bize G# Biz birbirimizi çok sevdik, kaçıyoz bize, kaçıyoz yarimle
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Murat Boz - A Be Kaynana Tabs
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Harmony analysis
Murat Boz – A Be Kaynana: key and chord analysis
The song opens on G and ends on G#. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
- #7 = B (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| III | G | Chromatic colour chordoutside the key | G · B · D | 4× |
| IV | G# | Subdominant — moves away from home | G# · B# · D# | 4× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | — |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | — |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 4× |
| VI | G# | Submediant — warm colour | G# · B# · D# | 4× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 2 different chords appear 8 times in total; 1 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over G#, land on G#, B#, D# — the chord's own tones always sound right on strong beats.
- When G comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.
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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on G, the song gives away its key from the very first bar. The chords that keep coming back are G, G#; read them as III–IV in Eb or V–VI in Cm. G is the interesting twist: in Eb it is a chromatic chord (III), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. The final chord is G#; the ear comes to rest in Eb.
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.
Murat Boz - A Be Kaynana 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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