Ceylan Ertem - Bu Bardak Dolsun - Chord

Key C major – A minor Chords G, F, Asus2, F/A, F6/Gb Easy key G (capo 5)

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Capo 0

F6/Gb     F/A
E--x--|   E--1--| 
B--3--|   B--1--| 
G--2--|   G--2--|
D--3--|   D--x--|
A--x--|   A--x--|
E--2--|   E--x--|

Asus2
 Bu bardak dolsun
F      G
 Dolsun haydi çocuk
Asus2     G
 "Kim karışır?" diyorsun
F      G
 Çok doğrusun çocuk

F  F6/Gb    G
Kır dikenimi
               Asus2
Bu, dikenlerimi kırma gecesi
F         G
O gülleri de boşver
F   G        Asus2
Güller sanki çürümeyecek mi

Asus2  G            F
Ezan   sesi geliyor masaya
      G            F/A  G
Gitar sesi konuyor mezeeeeye
Asus2  G           F
Eller  kalksın hadi şerefe
      F/A     G
Bu bardak çınlayacak çocuk

Asus2  G        F
Gün    ağarıyor bahçede
      G        F/A    G
Gün tertemiz oysa gün masum
Asus2    G        F
Kim bilir senin aklın yine nerede
       F/A   G
Bu kalp kırılacak çocuk

F  F6/Gb    G
Kır dikenimi
               Asus2
Bu, dikenlerimi kırma gecesi
F         G
O gülleri de boşver
F   G        Asus2
Güller sanki çürümeyece k mi

End of song Play again?

Ceylan Ertem - Bu Bardak Dolsun Tabs

NotesX

Harmony analysis

Ceylan Ertem – Bu Bardak Dolsun: key and chord analysis

The song opens on F6/Gb and ends on Asus2. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	12×
IV	F/A	Subdominant — moves away from home	F · A · C	5×
IV6	F6/Gb	Subdominant — moves away from home	F · A · C · D	3×
V	G	Dominant — strongest pull home	G · B · D	19×
VIsus2	Asus2	Relative minor — the melancholy side	A · B · E	10×
vi	Am	Relative minor — the melancholy side	A · C · E	—
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
Isus2	Asus2	Tonic — home	A · B · E	10×
i	Am	Tonic — home	A · C · E	—
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	—
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	12×
VI	F/A	Submediant — warm colour	F · A · C	5×
VI6	F6/Gb	Submediant — warm colour	F · A · C · D	3×
VII	G	Subtonic — steps back to the tonic	G · B · D	19×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 49 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

F G CIV → VIV → V AmVI → VIIVI → VII ×8
F/A G CIV → VIV → V AmVI → VIIVI → VII ×4
F6/Gb G CIV6 → VIV → V AmVI6 → VIIVI → VII ×2

The move to watch is F → G, heard 8 times. From the C side it reads IV → V (IV → V: the lift that builds tension before home); from the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 G, land on G, B, 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.
Over Asus2, land on A, B, E — 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 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

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is F6/Gb; the ear learns where home is within a second. G, F, Asus2, F/A carry the song: V–IV–VIsus2–IV relative to C, VII–VI–Isus2–VI relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → G (IV → V in C, VI → VII in Am): IV → V — the lift that builds tension before home. The final chord is Asus2; the ear comes to rest in C.

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.