Birsen Tezer - Balıkesir - Chord

Key Bb major – G minor Chords Gm, Cm, F, Bb Easy key C

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Capo 0

Gm                                   Cm   Gm
Seni sevdiğimdendir gelirim ben bu yereeeeee
                                     Cm
Seni sevdiğimdendir gelirim ben bu yere

Gm                               Bb
Ayaklarım basmaz yere görürüm önümü
Cm                   F          Gm
Ararım sinmiş köşelerde ben dünümü

Cm        Gm  F
Dağlar bilmeeeez
Cm     Gm
Bağlar bilir
Cm    Gm  F
Orman bilmez
Cm          Gm
Baş çeşme bilir

Cm       Gm F
Dağlar bilmez
Cm      Gm
Dostlar bilir
Cm    Gm  F
Eller bilmez
Cm          Gm
Baş çeşme bilir

Gm                                   Cm   Gm
Seni sevdiğimdendir gelirim ben bu yereeeeee
                                     Cm
Seni sevdiğimdendir gelirim ben bu yere

Gm                                 Bb
Yanaklarıma değmeden düşer gözümün yaşı
Cm                      F         Gm
Bakarım kendim gibi kel kalmış selvilere

Cm        Gm  F
Dağlar bilmeeeez
Cm     Gm
Bağlar bilir
Cm    Gm  F
Orman bilmez
Cm          Gm
Baş çeşme bilir

Cm       Gm F
Dağlar bilmez
Cm      Gm
Dostlar bilir
Cm    Gm  F
Eller bilmez
Cm          Gm
Baş çeşme bilir

End of song Play again?

Birsen Tezer - Balıkesir Tabs

NotesX

Harmony analysis

Birsen Tezer – Balıkesir: 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 24 times against 2 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	2×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	22×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
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	10×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	24×
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	24×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	2×
iv	Cm	Subdominant — moves away from home	C · Eb · G	22×
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	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	10×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 58 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

Cm Gm Bbii → vi Gmiv → iminor plagal ×20
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×2
Cm F Bbii → Vii → V Gmiv → VII ×2

The move to watch is Cm → Gm, heard 20 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — 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

The first chord is Gm; the ear learns where home is within a second. Gm, Cm, F, Bb carry the song: vi–ii–V–I relative to Bb, i–iv–VII–III relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Gm (ii → vi in Bb, iv → 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.