Ece Seçkin - Bon Voyage (Faruk Sabancı) - Chord

Key C major – A minor Chords Dm, G, Am, C Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Dm           G            C    Am
Bi daha asla yok demiştim oysa
Dm            G            Am
Nasılda farkettin kanatlarımı
Dm      G              C      Am
Küt küt kalbim içimden saysam da
Dm            G             Am
Yazarım kendimce deli miyim ne

Dm            G
Al beni çek götürüp
C        Am   Dm    G           Am
Bekledim seni çok olmaz ki bu kadar
Dm       G    C         Am
İstersen önce tut bi elimi
Dm       G         Am
Omuzunda güzel yer aç

Bon voyage

Dm  G      C             Am
Tek atışta çapkın çapkın bakışla
Dm      G        Am
Buluruz okyanusu seninle akışla
Dm  G      C             Am
Tek atışla tatlım sen bu bakışla
Dm       G       Am
Kitledin kalbimi Voulez vous Voulez vous

End of song Play again?

Ece Seçkin - Bon Voyage (Faruk Sabancı) Tabs

NotesX

Harmony analysis

Ece Seçkin – Bon Voyage (Faruk Sabancı): key and chord analysis

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

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)

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 A minor side because it comes to rest on Am and Am is heard 12 times against 6 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	6×
ii	Dm	Supertonic — prepares the dominant	D · F · A	12×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
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	12×
vi	Am	Relative minor — the melancholy side	A · C · E	12×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	12×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	6×
iv	Dm	Subdominant — moves away from home	D · F · A	12×
v	Em	Minor dominant — soft pull	E · G · B	—
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	12×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 42 times in total; 4 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

Dm G Cii → Vii → V Amiv → VII ×12
G C CV → Iauthentic cadence AmVII → III ×6
G Am CV → videceptive cadence AmVII → iAeolian arrival ×6

The move to watch is Dm → G, heard 12 times. From the Am side it is iv → VII; from the C side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — 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

Starting on Dm, the song gives away its key from the very first bar. The backbone is Dm, G, Am, C — ii–V–vi–I from the C side, iv–VII–i–III from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. Ending on Am, the song seals Am 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.