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)
Ziynet Sali - Kalbim Tatilde - Chord
Key Bb major – G minor Chords Gm, Dm7, Cm7, Eb, Dm Easy key C
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Key: Bb | Gm
Capo: 0
Gm Eb Dm7 Cm7
Gm Eb
Belki uyanırız bi sahilde
Dm7 Cm7 Gm
Dur konuşma uzat ellerini sakince
Eb
Anlatayım en basit tabirle
Dm7 Cm7 Gm
Vurunca aşk sanki kalbim her gün tatilde
Gm
Biliyor musun
Cm7 Dm
Böyle gülmezdim senden önce
Gm
Böyle doğmazdı güneş
Dm7 Cm7 Dm7
Bitirecek tüm derdi kederimi bir bakışın
Gm
Böyle atmazdı yürek
Gm
Ah bir de dokunsan
Yangınlar az gelecek
Dm7 Cm7 Gm
Anlattım yokluğunu bilmem ki kaç geceye
Dm7
Hoşgeldin yazıma kışıma
Eb
Kıyamam tek damla gözyaşına
Gm
Ölürüm sana bir şey olsa
Dm7
Ömrümden ömür gidecek
Gm Eb Dm7 Cm7
Eb
Sanki hiç üzülmemiş
Cm7
Kırılıp söylenmemiş
Dm7
Sanki hiç sevmemiş gibiyim
Gm
Tatlı bir rüzgar gibi
Cm7
Esersin bahar gelir
Dm7
Çünkü sen cennetin dibisin
End of song Play again?
Ziynet Sali - Kalbim Tatilde Tabs
NotesX
Harmony analysis
Ziynet Sali – Kalbim Tatilde: key and chord analysis
The song opens on Gm and ends on Dm7. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 12 times while Bb never appears. 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 | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 9× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 11× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 1× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 6× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 12× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 12× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 9× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 11× |
| v | Dm | Minor dominant — soft pull | D · F · A | 1× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 6× |
| 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). 5 different chords appear 39 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Cm7 Gm Bbii7 → vi Gmiv7 → iminor plagal ×4
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×3
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
- Eb Gm BbIV → vi GmVI → iVI → i ×1
The move to watch is Cm7 → Gm, heard 4 times. From the Gm side it is iv7 → i (minor plagal: deep and melancholic); from the Bb side it reads ii7 → 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
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
Starting on Gm, the song gives away its key from the very first bar. Gm, Dm7, Cm7, Eb carry the song: vi–iii7–ii7–IV relative to Bb, i–v7–iv7–VI relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Gm (ii7 → vi in Bb, iv7 → i in Gm): minor plagal — deep and melancholic. It closes on Dm7, letting the Bb 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.
Ziynet Sali - Kalbim Tatilde 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: Emrah KarakuyuMusic: Emrah KarakuyuArrangement: Mustafa Ceceli
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