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)
Burcu Güneş - Sihirbaz - Chord
Key Gb major – Eb minor Chords B, C#, D#m, Bb, G#m, F# Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
D#m C#
Yan yana uzanıp
B Bb
Gökyüzüne baktığımız anda
G#m B
Hayatımın değişiceğini
Bb D#m
Anladığım o anda
D#m C#
Dekorumuz yıldızlar ve
B Bb
Kahkaha atan martılar
G#m B
Esiyor ılık bi rüzgar
Bb D#m
Seninle içimde huzur var
D#m F# C#
Sihirbaz sihirbazsın inanılmaz
B C#
Sen herşeyi yaparsın
D#m C# B Bb
Son inadımda kırıldı gitti
D#m C# B Bb
Çok düşününce zamanım geçti
G#m C# B Bb
Zor seçerdim de ne oldu şimdi
G#m B Bb
Aşık mı oldum yani
G#m B D#m
Aşık mı oldum şimdi
D#m F# C#
Sihirbaz sihirbazsın inanılmaz
B C#
Sen herşeyi yaparsın
B C# B C# D#m
Sen herşeyi yaparsın
End of song Play again?
Burcu Güneş - Sihirbaz Tabs
NotesX
Harmony analysis
Burcu Güneş – Sihirbaz: key and chord analysis
The song opens on D#m and ends on D#m. 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)
- #7 = D (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 Eb minor side because it both starts and finishes on Ebm, Ebm is heard 10 times against 2 for Gb and the major V chord points straight at Ebm. 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 | F# | Tonic — home | F# · A# · C# | 2× |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 5× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | Bb | Secondary dominant V/vi — leads to D#msecondary dominant | Bb · D · F | 8× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 13× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 11× |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 10× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 10× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | F# | Relative major — the bright side | F# · A# · C# | 2× |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 5× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | — |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | 8× |
| VI | B | Submediant — warm colour | B · D# · F# | 13× |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 11× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 49 times in total; 5 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb is V/vi, a secondary dominant heading for Ebm.
Chord movement
- B C# GbIV → VIV → V EbmVI → VIIVI → VII ×4
- Bb D#m GbV/vi → vi EbmV → iharmonic-minor cadence ×3
- C# D#m GbV → videceptive cadence EbmVII → iAeolian arrival ×2
- G#m C# Gbii → Vii → V Ebmiv → VII ×1
- B D#m GbIV → vi EbmVI → iVI → i ×1
The move to watch is B → C#, heard 4 times. From the Ebm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Gb side it reads IV → V (IV → V: the lift that builds tension before home). 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over C#, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
- Over D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
- When Bb comes, swap the scale's Db for D: 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 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is D#m; the ear learns where home is within a second. The chords that keep coming back are B, C#, D#m, Bb; read them as IV–V–vi–V/vi in Gb or VI–VII–i–V in Ebm. Bb is the interesting twist: in Gb it is a chromatic chord (V/vi), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → C# (IV → V in Gb, VI → VII in Ebm): VI → VII — the rising step that heads for the tonic. The final chord is D#m; the ear comes to rest in Ebm.
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.
Burcu Güneş - Sihirbaz 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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