Koliva - Anzer Balı - Chord

Key Bb major – G minor Chords Gm, Eb, F, Dm, Cm Easy key G (capo 3)

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Capo 0

Gm                     Eb
Yağmur yağayi yağmur, yağmur yağayi yağmur 
F         Dm       Eb         Gm
Çaylarun üzerine, çaylarun üzerine  

Gm                  Cm
Vuruldum yanayirum, vuruldum yanayirum
Cm           Dm      Eb           Gm
Ayşem'in gözlerune, Ayşem'in gözlerune 

Gm           F      Gm           F
Baharda filizlenur çaylarun yapraklari
Gm        Eb        Cm       Dm          Eb        Gm
Anzer balina benzer Ayşem'in dudaklari, Ayşem'in dudaklari 

Gm                     Eb   
Bugün çay toplayamam, bugün çay toplayamam 
F          Dm     Eb            Gm
Çiselidur çiseli, çiselidur çiseli

Gm                   Cm
Ayşem Karadeniz'de, Ayşem Karadeniz'de
Cm           Dm      Eb           Gm
Seçildi çay güzeli, seçildi çay güzeli

Gm           F      Gm           F
Baharda filizlenir çayların yaprakları 
Gm        Eb         Cm       Dm         Eb        Gm
Anzer balına benzer Ayşem'in dudakları, Ayşem'in dudakları

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Koliva - Anzer Balı Tabs

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Harmony analysis

Koliva – Anzer Balı: key and chord analysis

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

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because it both starts and finishes on Gm and Gm is heard 16 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	6×
iii	Dm	Mediant — a tonic-family shade	D · F · A	6×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	10×
V	F	Dominant — strongest pull home	F · A · C	6×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	16×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	16×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	6×
v	Dm	Minor dominant — soft pull	D · F · A	6×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	10×
VII	F	Subtonic — steps back to the tonic	F · A · C	6×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 44 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

Eb Gm BbIV → vi GmVI → iVI → i ×6
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2

The move to watch is Eb → Gm, heard 6 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — 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.

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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. The backbone is Gm, Eb, F, Dm — vi–IV–V–iii from the Bb side, i–VI–VII–v from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. Ending on Gm, the song seals Gm 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.