Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Kendimden Hallice - Balık Olsam Tutar Mıydın - Chord
Key Ab major – F minor Chords Fm, Cm, Bb7, C7 Easy key F (capo 3)
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Key: Ab | Fm
Capo: 0
Fm
Belki de böyle olmalıydı
Bb7 Cm
Kalbim seni söylüyor aklımsa gitmeni
Fm
Zaman geçti zamanla geçmedi
Bb7 Cm
Bi’ seni istiyordum bir de seni
Cm Fm
Denizin ortasında
Bb7 Cm
Denize küsmüş balıklar
Fm
Gök yıldızlarıyla
Bb7
Yüzünü çizerken seni
Cm
Nasıl unutabilirim
Fm
Sesin bana türküyken
bb7 Cm
Neden bana varlığını küfür ediyo’sun
Fm Bb7 Cm C7 Fm Bb7 Cm
End of song Play again?
Kendimden Hallice - Balık Olsam Tutar Mıydın Tabs
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Harmony analysis
Kendimden Hallice – Balık Olsam Tutar Mıydın: key and chord analysis
The song opens on Fm and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
- #7 = E (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 F minor side because it opens on Fm, Fm is heard 7 times while Ab never appears and the major V chord points straight at Fm. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| II7 | Bb7 | Chromatic colour chordoutside the key | Bb · D · F · Ab | 6× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 7× |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 1× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 7× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 7× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| IV7 | Bb7 | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F · Ab | 6× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 7× |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 1× |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 21 times in total; 2 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C7 is V7/vi, a secondary dominant heading for Fm. Bb7 step outside the scale as colour chords.
Chord movement
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×4
- C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×1
The move to watch is Cm → Fm, heard 4 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bb7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- When C7 comes, swap the scale's Eb for E: 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. Fm, Cm, Bb7, C7 carry the song: vi–iii–II7–V7/vi relative to Ab, i–v–IV7–V7 relative to Fm. C7 is the interesting twist: in Ab it is a chromatic chord (V7/vi), while in Fm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. Ending on Cm, the song seals Ab 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.
Kendimden Hallice - Balık Olsam Tutar Mıydın 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: Azize İnan, Burak Başer, Esma Kayar, Betül Er, Berat Marhan, Ümit Enes Turpçu, Helin AnaçMusic: Ozan ÖzalpArrangement: Kendimden Hallice
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