Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Selçuk Balcı - Beklesin Beni Yarim - Chord
Key Eb major – C minor Chords Gm, F, D#, Cm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Gm Cm
Derelerde taş olsam, gözlerunde yaş olsam
Gm
Sevdaluk kervanuna, ben da arkadaş olsam
F
Olsam deli bir sevda, yüreklerune dolsam
D# F D# F Gm
Sevsan sen da beni, ben sana esir olsam
Gm Cm
Hey gidi Kaçkar daği, kar yağmurun kalmasun
Gm
Beklesun beni yarum, başkasuna bakmasun
F
Akmasun dağun karı, eriyipta akmasun
D# F D# F Gm
Bu sevdamun derdi, yüreğumi yakmasun
End of song Play again?
Selçuk Balcı - Beklesin Beni Yarim Tabs
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Harmony analysis
Selçuk Balcı – Beklesin Beni Yarim: key and chord analysis
The song opens on Gm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb major side because Eb is heard 4 times against 2 for Cm. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Eb or to Cm; 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 | D# | Tonic — home | D# · G · A# | 4× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| II | F | Chromatic colour chordoutside the key | F · A · C | 6× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 6× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 2× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 2× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | D# | Relative major — the bright side | D# · G · A# | 4× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| IV | F | Major IV — Dorian / melodic-minor colourmodal colour | F · A · C | 6× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 6× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | — |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 18 times in total; 3 of them sit naturally inside the shared scale. F step outside the scale as colour chords.
Chord movement
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×2
The move to watch is Gm → Cm, heard 2 times. From the Eb side it reads iii → vi; from the Cm side it is v → i (natural-minor cadence: gentle, modal arrival). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Gm, land on G, Bb, D — 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.
- Over D#, land on D#, G, 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, F, D#, Cm — iii–II–I–vi from the Eb side, v–IV–III–i from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. Ending on Gm, the song seals Eb 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.
Selçuk Balcı - Beklesin Beni Yarim 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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