Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Funda Arar - Hal Böyle - Chord
Key C major – A minor Chords Am, F, Bm7b5, E, Dm, G, Em, A7 … Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am F G
Güz sessizce gelir düşman gibi
Am
Yaz bahçesine
F Bm7b5 E
Bi kızıl renge boyanır yaprak düşer
Am
Ümitsizliğime
Am F G
Aşıklar yağmurda yürür sarmaş dolaş
Am
Batar gözüme
F Bm7b5 E
Nasıl utanır yalnız yüreğim sensizlikten
Am
Göçer kedere
F Em
Sen yokken bu benim halim böyle
A7 Dm
Öfkem sitemim yok kalbimde
F Bm7b5 E
Allah biliyor sen ister bil ister bilme
F Em
Ah Yar senden bi emanet aşk aldım
A7 Dm
Ben bu ateşi kendim yaktım
F Bm7b5 E
Hala yanıyor sen ister gel ister gelme
Dm Am
Yol gidenin sırdaşıdır
Bm7b5 E Am Am7
Kimbilir hangi vakit vuslat
Dm G C F
Dönmeyenin hali nedir
Bm7b5 E Am
Gel onu da sen anlat
End of song Play again?
Funda Arar - Hal Böyle Tabs
NotesX
Harmony analysis
Funda Arar – Hal Böyle: key and chord analysis
The song opens on Am and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
- #7 = G# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it both starts and finishes on Am, Am is heard 10 times against 1 for C and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | 1× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 4× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 2× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 6× |
| IV | F | Subdominant — moves away from home | F · A · C | 9× |
| V | G | Dominant — strongest pull home | G · B · D | 3× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 9× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 1× |
| V7/ii | A7 | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E · G | 2× |
| viiø7 | Bm7b5 | Leading-tone chord — tension | B · D · F · A | 6× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 9× |
| i7 | Am7 | Tonic — home | A · C · E · G | 1× |
| V7/iv | A7 | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E · G | 2× |
| iiø7 | Bm7b5 | Supertonic — prepares the dominant | B · D · F · A | 6× |
| III | C | Relative major — the bright side | C · E · G | 1× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 4× |
| v | Em | Minor dominant — soft pull | E · G · B | 2× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 6× |
| VI | F | Submediant — warm colour | F · A · C | 9× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 3× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 10 different chords appear 43 times in total; 8 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. A7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bm7b5 E Cviiø7 → V/vi Amiiø7 → Vii° → V ×6
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×4
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
- F G CIV → VIV → V AmVI → VIIVI → VII ×2
- A7 Dm CV7/ii → iisecondary resolution AmV7/iv → iv ×2
- G C CV → Iauthentic cadence AmVII → III ×1
The move to watch is Bm7b5 → E, heard 6 times. From the Am side it is iiø7 → V (ii° → V: the classic minor-key preparation); from the C side it reads viiø7 → V/vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Am, land on A, C, E — 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.
- Over Bm7b5, land on B, D, F — the chord's own tones always sound right on strong beats.
- When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. The chords that keep coming back are Am, F, Bm7b5, E; read them as vi–IV–viiø7–V/vi in C or i–VI–iiø7–V in Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bm7b5 → E (viiø7 → V/vi in C, iiø7 → V in Am): ii° → V — the classic minor-key preparation. The final chord is Am; the ear comes to rest in Am.
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.
Funda Arar - Hal Böyle 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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