Zeynep Bastık - Çalkala (Hazal Kaya) - Chord

Key G major – E minor Chords Em, Bm, D, G, Eb, Fm7b5 Easy key C (capo 7)

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Capo 0

Em  Bm  Em  Bm  Em  Bm  Em  Bm

Em                Bm
Hepimize iyi kötü birşeyler oldu
Em              Bm
Bir sana olmadı hayret
Em                Bm
Sen gerine gerine dolaşırken
Em               Bm
Biz hayat kavgasında ha gayret

Em                Bm
Biz elimize gözümüze bulaştırdık
Em            Bm
Azıcık yoldan çıkınca
Em                Bm
Sende hasar sıfır maaşallah
Em              Bm
Dağları çamları bile yıkınca

G               Bm
E bize de öğret etme günahtır
Em               D
Duvar kovuğundan çıkmadık
G               Bm
Bizim de anamız babamız var da
Em             D
Bu yolları hiç çakmadık

Em              Bm
Çalkala hadi adamım
   Em                 Bm
Devrine durumuna göre çalkala
     D              Em
Hadi kitabına uyduralım
    D             Eb
Ele aleme karşı zevahiri topla

Em
Seni lapacı, seni lapacı

Em                        Fm7b5  Em
Seni lapacı seni yıkamacı yağlamacı
Em                        Fm7b5  Em
Seni lapacı seni yıkamacı yağlamacı

Em              Bm
Çalkala hadi adamım
   Em                 Bm
Devrine durumuna göre çalkala
     D              Em
Hadi kitabına uyduralım
    D             Eb
Ele aleme karşı zevahiri topla

End of song Play again?

Zeynep Bastık - Çalkala (Hazal Kaya) Tabs

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Harmony analysis

Zeynep Bastık – Çalkala (Hazal Kaya): key and chord analysis

The song opens on Em and ends on Eb. Its chords belong to both G major and Em, so every chord below is read both ways.

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)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

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 and Em is heard 25 times against 2 for G. 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	2×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	18×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	6×
bVI	Eb	Borrowed from the parallel minorborrowed chord	Eb · G · Bb	2×
vi	Em	Relative minor — the melancholy side	E · G · B	25×
bviiø7	Fm7b5	Chromatic colour chordoutside the key	F · Ab · Cb · Eb	2×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	25×
biiø7	Fm7b5	Chromatic colour chordoutside the key	F · Ab · Cb · Eb	2×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	2×
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	18×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	6×
#VII	Eb	Chromatic colour chordoutside the key	Eb · G · Bb	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 55 times in total; 4 of them sit naturally inside the shared scale. Eb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bm Em Giii → vi Emv → inatural-minor cadence ×15
D Em GV → videceptive cadence EmVII → iAeolian arrival ×3
D G GV → Iauthentic cadence EmVII → III ×1

The move to watch is Bm → Em, heard 15 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — 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.
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 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
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. Em, Bm, D, G carry the song: vi–iii–V–I relative to G, i–v–VII–III relative to Em. Eb briefly darkens the picture: borrowed from the parallel minor. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. It closes on Eb, 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.