Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Sezen Aksu - Belalım - Chord
Key G major – E minor Chords Bm, Am, Em, D Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm Em Am Bm Am Bm
Uçurum uçurum gözlerine baktığım sensin
Em Am Bm Am Bm
Prangalarca boynuma takığım sensin
Em Bm Am D Am Bm
Dağ gölleri gibi gibi hasret çektiğim
Am Bm Am D Am Bm
Her gece uyku diye yattığım sensin
Em
Yanarım yanarım tutuşur
D
Yanarım kavurur ateşim
Am Bm
Seni de beni de belalım
Am Bm
Aahhh belalım
Bm Em Am Bm Am Bm
Gün değmemiş ormanlarda yittiğim sensin
Em Am Bm Am Bm
Ömrüme ömür diye katığım sensin
Em Bm Am D Am Bm
Deli deli boranlarda aç denizlerde
Am Bm Am D Am Bm
Teninin tuzunu canım tattığım sensin
Em
Yanarım yanarım tutuşur
D
Yanarım kavurur ateşim
Am Bm
Seni de beni de belalım
Am Bm
Aahhh belalım
Bm Em Am Bm Am Bm
Damga damga göğsüme vurduğum sensin
Em Am Bm Am Bm
Öfke dolu şehirlerde bulduğum sensin
Em Bm Am D Am Bm
Yer nerede gök nerede ben neredeyim
Am Bm Am D Am Bm
Diye diye sınırlara geldiğim sensin
End of song Play again?
Sezen Aksu - Belalım Tabs
/videos/sezen-aksu-belalim-tab.mp4
NotesX
Harmony analysis
Sezen Aksu – Belalım: key and chord analysis
The song opens on Bm and ends on Bm. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because Em is heard 11 times while G never appears. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 31× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 31× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | 8× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 11× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 11× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 31× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 31× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 8× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 81 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
- Bm Em Giii → vi Emv → inatural-minor cadence ×11
- Am D Gii → Vii → V Emiv → VII ×6
The move to watch is Bm → Em, heard 11 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Bm, land on B, D, F# — 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.
- Over Em, land on E, G, B — 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. Bm, Am, Em, D carry the song: iii–ii–vi–V relative to G, v–iv–i–VII relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. Ending on Bm, the song seals G 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.
Sezen Aksu - Belalım 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: Sezen Aksu
Zülfü LivaneliMusic: Zülfü LivaneliArrangement: Attila Özdemiroğlu
Onno Tunç
Zülfü LivaneliMusic: Zülfü LivaneliArrangement: Attila Özdemiroğlu
Onno Tunç
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