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)
Kalben - O Ye Bebek - Chord
Key C major – A minor Chords Em, C, B7, Asus2, Am Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em
Bana öyle sarma, böyle sar.
Am
Sonra da yak, canımı yakmak yerine.
C Asus2 B7 Em
Yapayalnız gecelerde yürüyor kızlar, tıkırdıyor İstiklal'de
Em
Pencerelerde eski erkekler.
Am
Gözlerinde bedelli askerler.
C
Sabun kokar avuçları
Asus2 B7 Em
Yeni alınmış kaşları
C Am
Burnum akar, biri çeker
Em
Bu sıra böyle uzar gider
C
Saldırır sesim, büyür ellerim
Asus2 B7 Em
Seni görmedim, seni görmedim
Em
Aldatmadın, aldanmadım
B7
Umutsuzdu, inanmadım
Am
Kırkı çıktı, çanta topladım
Islak saçım, üşür başım
C
Kirli konuş benimle
Asus2
O ye bebek
B7 Em
Yana yana bitmek gerek
B bölümü
Nakarat
C
Kirli konuş benimle
Asus2
O ye bebek
B7 Em
Yana yana bitmek gerek
End of song Play again?
Kalben - O Ye Bebek Tabs
NotesX
Harmony analysis
Kalben – O Ye Bebek: key and chord analysis
The song opens on Em and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.
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 C major side because C is heard 6 times against 4 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 6× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 9× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | — |
| VIsus2 | Asus2 | Relative minor — the melancholy side | A · B · E | 5× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| V7/iii | B7 | Secondary dominant V/iii — leads to Emsecondary dominant | B · D# · F# · A | 6× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Isus2 | Asus2 | Tonic — home | A · B · E | 5× |
| i | Am | Tonic — home | A · C · E | 4× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| V7/v | B7 | Secondary dominant V/v — leads to Emsecondary dominant | B · D# · F# · A | 6× |
| III | C | Relative major — the bright side | C · E · G | 6× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v | Em | Minor dominant — soft pull | E · G · B | 9× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 30 times in total; 4 of them sit naturally inside the shared scale. B7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- B7 Em CV7/iii → iiisecondary resolution AmV7/v → v ×5
- Em Am Ciii → vi Amv → inatural-minor cadence ×2
The move to watch is B7 → Em, heard 5 times. From the C side it reads V7/iii → iii (secondary resolution: B7 resolves a fourth up to Em); from the Am side it is V7/v → v. 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over B7, land on B, D#, F# — 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 opening Em lays a solid floor for everything that follows. Em, C, B7, Asus2 carry the song: iii–I–V7/iii–VIsus2 relative to C, v–III–V7/v–Isus2 relative to Am. B7 adds a moment of surprise: secondary dominant V/iii — leads to Em. Keep an ear on B7 → Em (V7/iii → iii in C, V7/v → v in Am): secondary resolution — B7 resolves a fourth up to Em. Ending on Em, the song seals C 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.
Kalben - O Ye Bebek 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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