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)
Zeynep Bastık - Arka Mahalle (Berkay) - Chord
Key Bb major – G minor Chords Cm7, Gm7, Dm7, Bbmaj7, F7, Eb Easy key C
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Key: Bb | Gm
Capo: 0
Gm7 Cm7 Dm7 Bbmaj7 Cm7 Gm7 Cm7 Dm7 Bbmaj7 Cm7 Dm7 Eb Dm7 Eb Gm7 Cm7 Ağladım gözyaşlarım döndü denize F7 Gm7 Ben derdimi kimseye söyleyemedim Gm7 Cm7 Kurşunlara gelirken arka mahlede F7 Gm7 Düştüm de yerlere bir of demedim Gm7 Cm7 Başıma neler geldi sana diyemedim Dm7 Bbmaj7 Beni kaç kere dövdüler(vurdular) adını söylemedim Cm7 Dm7 Cm7 F7 Gm7 Oof ooff oof ooff yıkılsın evin Gm7 Cm7 Dm7 Bbmaj7 Cm7 Gm7 Cm7 Dm7 Bbmaj7 Cm7 Dm7 Eb Dm7 Eb Gm7 Cm7 Ağladım gözyaşlarım düştü ateşe F7 Gm7 Yinede bu yangını söndüremedim Gm7 Cm7 Bağıra bağıra yazdım seni içime F7 Gm7 Bir kez olsun yüzünü güldüremedim Gm7 Cm7 Başıma neler geldi sana diyemedim Dm7 Bbmaj7 Beni kaç kere dövdüler(vurdular) adını söylemedim Cm7 Dm7 Cm7 F7 Gm7 Oof ooff oof ooff yıkılsın evin
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Zeynep Bastık - Arka Mahalle (Berkay) Tabs
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Harmony analysis
Zeynep Bastık – Arka Mahalle (Berkay): key and chord analysis
The song opens on Gm7 and ends on Gm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
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 against 6 for Bb. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Bbmaj7 | Tonic — home | Bb · D · F · A | 6× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 18× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 12× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 4× |
| V7 | F7 | Dominant — strongest pull home | F · A · C · Eb | 6× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 16× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 6× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 18× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 12× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 4× |
| VII7 | F7 | Subtonic — steps back to the tonic | F · A · C · Eb | 6× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 62 times in total; 6 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
- F7 Gm7 BbV7 → vi7deceptive cadence GmVII7 → i7Aeolian arrival ×6
- Cm7 F7 Bbii7 → V7ii → V Gmiv7 → VII7 ×6
- Cm7 Gm7 Bbii7 → vi7 Gmiv7 → i7minor plagal ×2
- Eb Gm7 BbIV → vi7 GmVI → i7VI → i ×2
The move to watch is F7 → Gm7, heard 6 times. From the Gm side it is VII7 → i7 (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V7 → vi7 (deceptive cadence: expected Bb, lands on Gm). 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Gm7, land on G, Bb, D — 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.
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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Gm7, the song gives away its key from the very first bar. The backbone is Cm7, Gm7, Dm7, Bbmaj7 — ii7–vi7–iii7–Imaj7 from the Bb side, iv7–i7–v7–IIImaj7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F7 → Gm7 (V7 → vi7 in Bb, VII7 → i7 in Gm): Aeolian arrival — rises a whole tone into home. Ending on Gm7, 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.
Zeynep Bastık - Arka Mahalle (Berkay) 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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Lyrics: Ahmet KayaMusic: Ahmet Kaya
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