Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Zeki Müren - Arım Balım Peteğim - Chord
Key C major – A minor Chords Dm, Gm, F, Eb, Cm, Dm7, D, G … Easy key D
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Key: C | Am
Capo: 0
Gm G Cm F F7 BbGm Gozyasim sarap olsa, gencligim harap olsa Gm Dm Dm7 D Her gunum azap olsa, yine seni sevecegim Gm F Gm Dm F Arim balim petegim, gulum dalim cicegim Dm Eb Cm Eb F Dm Bilsem ki olecegim, yine seni sevecegim Gm G Cm F F7 Bb Ne emelim ne arzum, kalmasa tek umudum Gm Dm Dm7 D Erisem yudum yudum, yine seni sevecegim Gm F Gm Dm F Arim balim petegim, gulum dalim cicegim Dm Eb Cm Eb F Dm Bilsem ki olecegim, yine seni sevecegim
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Zeki Müren - Arım Balım Peteğim Tabs
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Harmony analysis
Zeki Müren – Arım Balım Peteğim: key and chord analysis
The song opens on Gm and ends on Dm. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between C major and A minor. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to C or to Am; 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 | C | Tonic — home | C · E · G | — |
| i | Cm | Chromatic colour chordoutside the key | C · Eb · G | 3× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 8× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 2× |
| V/V | D | Secondary dominant V/V — leads to Gsecondary dominant | D · F# · A | 2× |
| bIII | Eb | Borrowed from the parallel minorborrowed chord | Eb · G · Bb | 4× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| III | E | Chromatic colour chordoutside the key | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 7× |
| IV7 | F7 | Chromatic colour chordoutside the key | F · A · C · Eb | 1× |
| V | G | Dominant — strongest pull home | G · B · D | 1× |
| v | Gm | Chromatic colour chordoutside the key | G · Bb · D | 7× |
| vi | Am | Relative minor — the melancholy side | A · C · E | — |
| bVII | Bb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Bb · D · F | 1× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | — |
| bII | Bb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Bb · D · F | 1× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 3× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 8× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 2× |
| IV | D | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A | 2× |
| #IV | Eb | Chromatic colour chordoutside the key | Eb · G · Bb | 4× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 7× |
| VI7 | F7 | Chromatic colour chordoutside the key | F · A · C · Eb | 1× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 1× |
| vii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 7× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 10 different chords appear 36 times in total; 4 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key. Eb, Bb are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F7 Bb CIV7 → bVIIsecondary resolution AmVI7 → bII ×1
The move to watch is F7 → Bb, heard once. From the C side it reads IV7 → bVII (secondary resolution: F7 resolves a fourth up to Bb); from the Am side it is VI7 → bII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- On Eb, follow the chord's notes (Eb · G · Bb) rather than the key's scale — it's a borrowed colour.
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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 5 semitones down · capo 5 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 Dm, Gm, F, Eb; read them as ii–v–IV–bIII in C or iv–vii–VI–#IV in Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on F7 → Bb (IV7 → bVII in C, VI7 → bII in Am): secondary resolution — F7 resolves a fourth up to Bb. Ending on Dm, the song seals C as home.
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.
Zeki Müren - Arım Balım Peteğim 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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