Sibel Can - Bir Parmak Bal - Chord

Key G major – E minor Chords G, Fm, D, Em, C, Am Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

G
Bir parmak balı çalıp ağzıma

Sana müptela ettin beni
              D               G
O gün bugün içler acısı vaziyetim
 
G                D
Tadı damağımda kalır düşünürüm
Em           D
Adını sayıklıyorum geceleri
C              D          G
Hiç acıman insafın yok mu senin

 G                C
Ha bugün ha yarın diye diye
                           Am
Harcadın o körpecik, o güzelim seneleri
G            C
Gel şu asi başını biraz eğ de
                             G
Bu çileye son ver kurtar bizi

G                Em
Bekle bekle nereye kadar
   Am
Vallahi usandım
G
Tak etti canıma tak

Son damlası taştı, taşacak sabrımın

G            Em             Am
Ya sev ya da sevme kararını ver bir an önce
G
Yoksa bu kuşu gönül kafesinden

Ebediyen kaçıracaksın

G  Fm        G    Fm  G      Fm  G         Fm  G
   Kıymetimi elbet     anlayacaksın bi gün
   Fm   G     Fm  G     Fm    G
Lakin çok geç,      olmuş olacak o gün

End of song Play again?

Sibel Can - Bir Parmak Bal Tabs

NotesX

Harmony analysis

Sibel Can – Bir Parmak Bal: key and chord analysis

The song opens on G and ends on G. 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 G major side because it both starts and finishes on G and G is heard 19 times against 3 for Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

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	19×
ii	Am	Supertonic — prepares the dominant	A · C · E	3×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	3×
V	D	Dominant — strongest pull home	D · F# · A	4×
vi	Em	Relative minor — the melancholy side	E · G · B	3×
bvii	Fm	Chromatic colour chordoutside the key	F · Ab · C	7×
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	3×
bii	Fm	Chromatic colour chordoutside the key	F · Ab · C	7×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	19×
iv	Am	Subdominant — moves away from home	A · C · E	3×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	3×
VII	D	Subtonic — steps back to the tonic	D · F# · A	4×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 39 times in total; 5 of them sit naturally inside the shared scale. Fm step outside the scale as colour chords.

Chord movement

D G GV → Iauthentic cadence EmVII → III ×2
D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
C G GIV → Iplagal cadence EmVI → III ×1
C D GIV → VIV → V EmVI → VIIVI → VII ×1

The move to watch is D → G, heard 2 times. From the G side it reads V → I (authentic cadence: the strongest arrival home); from the Em side it is VII → III. 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — 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.

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

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

The song's harmonic story

Starting on G, the song gives away its key from the very first bar. G, Fm, D, Em carry the song: I–bvii–V–vi relative to G, III–bii–VII–i relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → G (V → I in G, VII → III in Em): authentic cadence — the strongest arrival home. Ending on G, the song seals G 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.