Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Barış Manço - Bal Böceği - Chord
Key G major – E minor Chords Em, D, C, B, Bm, Cmaj7, B7, Fdim … Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em D Cmaj7 B Em D Seyyah oldum dolaştım şu alemi, ah güzelim Cmaj7 B Senin gibi bir vefasız görmedim ben Em D Hayırsızı kitapsızı zalimi bal böceğim Cmaj7 B7 Senin gibi bir insafsız görmedim ben Em D Şu dağlarda çiçek oldum aşkından sarardım soldum C B7 Bakmadın bana bal böceğim Em D Yollarında toprak oldum sen bastıkça ben kavruldum C B7 Görmedin beni bal böceğim B C D Em Seni gidi bal böceği B C D Em Kim çözecek bu bilmeceyi B C D Em Fdim G Am C Bm Ateşte yanar pervane ben oldum derdinden divane Bm Hele gel yine gel bir gece vakti koynuma gel Em D Ama benim adım bal böceği C Bm Bekleyemem ben bu geceyi Em D Gelirde koynuna girerim ama C Bm Sonrada batırırım iğneyi Bm Hele gel yine gel ben razıyım dön bana gel Bm Hele gel yine gel bir gece vakti koynuma gel Em D Nedir bu çektiğim senin elinden ah güzelim Cmaj7 B Kurtar beni elalemin dilinden Em D Bıktım usandım o bitmez nazından bal böceğim Cmaj7 B7 Sabır teli koptu gönül sazından
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Barış Manço - Bal Böceği Tabs
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Harmony analysis
Barış Manço – Bal Böceği: key and chord analysis
The song opens on Em and ends on B7. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (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 E minor side because it opens on Em, Em is heard 12 times against 1 for G and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | 1× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 1× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 6× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 6× |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 4× |
| IV | C | Subdominant — moves away from home | C · E · G | 8× |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 5× |
| V | D | Dominant — strongest pull home | D · F# · A | 12× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 12× |
| bvii° | Fdim | Chromatic colour chordoutside the key | F · Ab · Cb | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 12× |
| bii° | Fdim | Chromatic colour chordoutside the key | F · Ab · Cb | 1× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 1× |
| iv | Am | Subdominant — moves away from home | A · C · E | 1× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 6× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 6× |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 4× |
| VI | C | Submediant — warm colour | C · E · G | 8× |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 5× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 12× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 10 different chords appear 56 times in total; 7 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B / B7 is V/vi, a secondary dominant heading for Em. Fdim step outside the scale as colour chords.
Chord movement
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×3
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×3
- C D GIV → VIV → V EmVI → VIIVI → VII ×3
- Bm Em Giii → vi Emv → inatural-minor cadence ×3
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×2
The move to watch is B → Em, heard 3 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Em, land on E, G, B — 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.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- When B comes, swap the scale's D 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Em, D, C, B; read them as vi–V–IV–V/vi in G or i–VII–VI–V in Em. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. It closes on B7, letting the G 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.
Barış Manço - Bal Böceği 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: Barış MançoMusic: Barış Manço
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