Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Tuna Kiremitçi - Balkan Kızı (Elis Dubaz) - Chord
Key Ab major – F minor Chords Cm, Eb, Ab, Fm, Db, Bbm Easy key C
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Key: Ab | Fm
Capo: 0
Ab Eb Kalbi kırık, gönlü yorgun çıkmıştım yola Fm Cm Az uzakta bekliyordu Saraybosna Ab Eb Üsküp’e varmıştım, köprüde onu gördüm Fm Eb Db Cm Tuna nehri taştı birden, ben o an öldüm Cm Yapma bunu yapma Balkan kızı, ateşe atma bu yalnızı Bbm Db Cm Olacak iş mi, hele şimdi, hayda Gözleri yeşil, kumral saçı, çiçek açmış Balkan kızı Bbm Db Cm Oluverdim aşığın valla Cm Cm Bbm Db Cm Ab Eb Tuna nehri akmam diyordu en başında Fm Cm Yaralı gönlümü yormam bu yaşında Ab Eb Ama sonra esti rüzgâr zaman durdu Fm Eb Db Cm Kendi etti kendi buldu, kalp harap oldu Ab Eb Bir gün öyle, bir gün böyle dolandım durdum Fm Cm Varna’ya varırsam unuturum sandım Ab Eb Gece gündüz bekledim de yine gelmedin Fm Eb Db Cm Tuna nehri şahidimdir beni sevmedin
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Tuna Kiremitçi - Balkan Kızı (Elis Dubaz) Tabs
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Harmony analysis
Tuna Kiremitçi – Balkan Kızı (Elis Dubaz): key and chord analysis
The song opens on Ab and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Ab major side because it opens on Ab. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | 6× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 3× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 12× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 9× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 6× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 6× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 6× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 3× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 12× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 9× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 42 times in total; 6 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
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×6
The move to watch is Eb → Fm, heard 6 times. From the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm); from the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Ab; the ear learns where home is within a second. The chords that keep coming back are Cm, Eb, Ab, Fm; read them as iii–V–I–vi in Ab or v–VII–III–i in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): deceptive cadence — expected Ab, lands on Fm. Ending on Cm, the song seals Ab 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.
Tuna Kiremitçi - Balkan Kızı (Elis Dubaz) 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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