İdo Tatlıses - Kaça Böldün - Chord

Key Bb major – G minor Chords Gm, Ebmaj7, Cm7 Easy key G (capo 3)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Gm  Ebmaj7  Ebmaj7  Cm7

Gm
 Kaça böldün kaça parçaladın
Ebmaj7
 Geçinilir mi böyle birisiyle yaşanır mı
                 Cm7
 Dumanlı biriyle giden yıllarıyla huzura taşınır mı

Gm
 Kaça böldün kaça parçaladın
Ebmaj7
 Geçinilir mi ateş elleriyle

 Bakışıyla tek bi bakışıyla
Cm7
 Buza dönüşür müyüm alevin eşiğinde

Gm
 Koy kendini bir gün benim yerime

Neden ağır olur seneler
         Ebmaj7
Bi takım arz olur çabalar
         Cm7
Bi takım hastalık alenen

        Gm
Yanlışa rastlarım aramam

Çok görmek isterim gidemem
        Ebmaj7
Kaskatı varsayıp dönemem
  Cm7           Gm
Direncim çok zayıf

End of song Play again?

İdo Tatlıses - Kaça Böldün Tabs

NotesX

Harmony analysis

İdo Tatlıses – Kaça Böldün: 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 6 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	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	5×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	6×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	6×
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	6×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	5×
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VImaj7	Ebmaj7	Submediant — warm colour	Eb · G · Bb · D	6×
VII	F	Subtonic — steps back to the tonic	F · A · C	—

Analysis

The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 17 times in total; 3 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

Cm7 Gm Bbii7 → vi Gmiv7 → iminor plagal ×5

The move to watch is Cm7 → Gm, heard 5 times. From the Gm side it is iv7 → i (minor plagal: deep and melancholic); from the Bb side it reads ii7 → 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 Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Cm7, land on C, Eb, G — 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

Starting on Gm, the song gives away its key from the very first bar. Gm, Ebmaj7, Cm7 carry the song: vi–IVmaj7–ii7 relative to Bb, i–VImaj7–iv7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Gm (ii7 → vi in Bb, iv7 → i in Gm): minor plagal — deep and melancholic. It closes on Gm, letting the Gm side have the last word.

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.