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)
Key Bb major – G minor Chords Gm, F, Cm, Dm Easy key C
Cm F
Uçkunum anam, döndüm gazele
Gm
Eyvallah olur göynüm güzele
Cm F
Kurşununa da kem gözüne de
Gm
Eyvahlar olsun böyle düzene
Cm F Gm Gm
Cm
Sanki kafamın içinde bi festival
F
Altımda plaka elimde testi var
Gm
Burnum batı diyor ama yüreğim doğu
Doğuda kovboy şapkalı kara istila
Cm
Kaç kuşak aynı dersten kaldık bihaber
F
Matematiğimiz değişken de coğrafya kader
Gm
Dans eder türkü çağırırız bulmaya özü
Ama enseden yapışır içtima
Cm F
Aşkolsun sana be
Gm
Yaktın beni de gençliğim soldu böyle
Cm F
Hani baş koydum bu yola ben
Gm
Özgürlüğümün adı yok mu bu yerde?
Cm F
Uçkunum anam, döndüm gazele
Gm
Eyvallah olur göynüm güzele
Cm F
Kurşununa da kem gözüne de
Gm
Eyvahlar olsun böyle düzene
Gm
Haram yemez gönül gözüm
Dm
Yayan yürür yolu uzun
Gm
Doğru diyen bu deli sazın
F
Söveni de çok
Gm
Ne yarandım ne yerindim
Dm
Gariptim aşka büründüm
Gm
Yağlı yiyen boşboğazın
F
Sevmeyeni yok
Cm F Gm Gm
Gm
Adalet olmuş ademin elinde silah
Dm
Ne yerimiz kaldı anlatacak ne külah
Gm
Tanrım hayırla göndersin bize bi felah
Dm
Vatanım! bi' gün yüzü gör! içim şişti ha
Gm
Kuru soğan ekmek arası zaruri
Dm
Bize bi' barış gerek hem de umumi
Gm
Ne olursan ol demiş ya hani Rûmi
Dm
Ötesi yalan olur insanlık istifa
Cm F
Aşkımdan sana ne?
Gm
Yaktın dilimi üflerim her yoğurdu
Cm F
Hani cepken yok cep delik
Gm
Tatlım beni de bir ana doğurdu
SPARK
I’m a spark, dear, I have become a ghazal
my soul welcomes in what it finds beautiful
to the poured lead, and the evil eye it repels
woe be to a system like this
it feels like there is a festival in my head
a number plate secured, a jug in my hand
my nose says west but my heart is for the east
yet the dark invasion in the east wears a cowboy hat
for how many generations have we failed the same class, unaware
our maths variable yet geography our fate
we dance, we sing folk songs to find our essence
yet the assembly call grabs us by the neck
well done to you
you’ve ruined me
and my youth has faded away
I’ve set my heart on this path
so is my freedom
not worthy of any mention here?
I’m a spark, dear, I am now scattered like broken leaves
my soul welcomes in what it finds beautiful
to the poured lead and the evil eye it repels
woe be to a system like this
my soul’s eye never stoops to the ill-gotten
it walks the long path by foot
and there are many who damn
this mad instrument which speaks the truth
I neither curried favour nor did I feel regret
I was outcast I dressed myself in love
yet none hate the loudmouth
who always gets the greasy bit
justice has become a weapon in man’s hand
we neither have a tale to tell, nor a room to tell it in
I hope god sends us some salvation with gratitude
my homeland! I hope you see the light of day! I really have had enough!
condemned to eat mere onions in my bread
what we need is peace and on a universal scale for that
you know how Rûmi said ‘come whatever you are’
the rest would be a lie, so humanity, resign!
my love is none of your business, alright?
once burnt by you
I am now forever shy
don’t even have a gipon and there is a hole in my pocket
and sweety, I, too,
was born of a mother
End of song Play again?
Harmony analysis
The song opens on Cm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it comes to rest on Gm and Gm is heard 22 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.
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 |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 12× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 6× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | 14× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 22× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 22× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 12× |
| v | Dm | Minor dominant — soft pull | D · F · A | 6× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 14× |
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 54 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.
The move to watch is F → Gm, heard 13 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
Starting on Cm, the song gives away its key from the very first bar. Gm, F, Cm, Dm carry the song: vi–V–ii–iii relative to Bb, i–VII–iv–v relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. Ending on Gm, 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.
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.
Ready-made lists by difficulty and mood.
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