Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Ayda - Boğaz'da Yangın Var - Chord
Key Bb major – G minor Chords Gm, Eb, D, Cm Easy key C
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Key: Bb | Gm
Capo: 0
Gm
Neyin çarpması bu
Eb
Bir iç deniz gibi durgunluğa teslim
D Cm
Çöktüm dizlerimin üstüne
Gm
Ne acı, aşkı yalnız yaşaması
Eb Gm
Kaç ya da dur
Eb Gm
Git ya da kal
D Gm
Gölgen benimle
Eb Gm
Gün değil, ay değil
Eb Gm
Gelmedin doldu
D Gm
Neredeyse, bir sene
Gm
Açılmamış hediyeler
D
Gidilmemiş dünya kadar yerler var daha
Cm
Hoyrat zamanı sor goncagüle
Gm
Gelir mi bugünler bir daha
Gm Eb
Son vapurda bir dilek var
Gm Eb
Ya gelir ya mendil sallar
Gm Cm
Özledim ah
D Cm
Bir kördüğüm kelimeler
D Cm
Yüreğim guruba benzer
D Gm
Sevgilim Boğaz’da yangın var
End of song Play again?
Ayda - Boğaz'da Yangın Var Tabs
NotesX
Harmony analysis
Ayda – Boğaz'da Yangın Var: key and chord analysis
The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (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 G minor side because it both starts and finishes on Gm, Gm is heard 14 times while Bb never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 5× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 7× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 7× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 14× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 14× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 5× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 7× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 7× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 33 times in total; 3 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm.
Chord movement
- Eb Gm BbIV → vi GmVI → iVI → i ×6
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×3
- Cm D Bbii → V/vi Gmiv → Viv → V ×3
- Cm Gm Bbii → vi Gmiv → iminor plagal ×2
The move to watch is Eb → Gm, heard 6 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — 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.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When D comes, swap the scale's F for F#: 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm 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. The chords that keep coming back are Gm, Eb, D, Cm; read them as vi–IV–V/vi–ii in Bb or i–VI–V–iv in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. The final chord is Gm; the ear comes to rest in Gm.
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.
Ayda - Boğaz'da Yangın Var 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: Alper Narman
Onur ÖzdemirMusic: Alper Narman
Onur Özdemir
Onur ÖzdemirMusic: Alper Narman
Onur Özdemir
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