Gökhan Türkmen - Bal - Chord

Key C major – A minor Chords Em7, Dm7, Am7, G7, Fmaj7 Difficulty already in its easiest key

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Capo 0

Dm7  G7  Am7  Dm7  Em7  Dm7  G7  Am7

Am7      Em7    Fmaj7
Ya doğru değilse düşüncelerin
         Em7           Dm7
Ya doğru değilse yanılıyorsan hislerinde

Am7        Em7    Fmaj7
Ben yandım dedikçe söndüremedin
          Em7         Dm7
Ah gönlüm elinde acımıyorsun bari dinle

Em7                    Dm7
Uyumak için içtim, unutmak için içtim
      Em7                 Dm7
Düştükçe düştüm, hep daha çok sevdim

Em7                        Dm7
Bak senin için geldim, un ufak oldu kalbim
      Em7                  Dm7
Küstükçe küstüm, bir tek seni sevmiştim

Am7           Em7  Dm7            Em7
Ah han sandın ama, dergahtı şu gönlüm 
           G7            Fmaj7
Taş sandın ah, bir camdı gönül 
  Dm7          Em7
Defalarca kırıldım 

Am7       Em7        Dm7            Em7
Ah bal sandım ama, zehirmiş sözün kandım
        G7          Fmaj7    Dm7          Em7
Anıları yok, yok saydın ama, sende kalmaz ahım

        G7          Fmaj7    Dm7          Em7
Anıları yok, yok saydın ama, bir hayale sarıldın

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Gökhan Türkmen - Bal Tabs

NotesX

Harmony analysis

Gökhan Türkmen – Bal: key and chord analysis

The song opens on Dm7 and ends on Em7. 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: to us the song feels closer to the A minor side because Am is heard 6 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 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	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	14×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	16×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	5×
V7	G7	Dominant — strongest pull home	G · B · D · F	5×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	6×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i7	Am7	Tonic — home	A · C · E · G	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	14×
v7	Em7	Minor dominant — soft pull	E · G · B · D	16×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	5×
VII7	G7	Subtonic — steps back to the tonic	G · B · D · F	5×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 46 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

G7 Am7 CV7 → vi7deceptive cadence AmVII7 → i7Aeolian arrival ×2
Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×2
Dm7 G7 Cii7 → V7ii → V Amiv7 → VII7 ×2
Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×1

The move to watch is G7 → Am7, heard 2 times. From the Am side it is VII7 → i7 (Aeolian arrival: rises a whole tone into home); from the C side it reads V7 → vi7 (deceptive cadence: expected C, lands on Am). 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 Em7, land on E, G, B — 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 Am7, land on A, C, 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is Dm7; the ear learns where home is within a second. Em7, Dm7, Am7, G7 carry the song: iii7–ii7–vi7–V7 relative to C, v7–iv7–i7–VII7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G7 → Am7 (V7 → vi7 in C, VII7 → i7 in Am): Aeolian arrival — rises a whole tone into home. It closes on Em7, letting the C 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.