🎸 SETLIST

JAZZ BALLAD 108bpm Flowing, atmospheric. Sit on half-note sustains under CM7 and Am(add9); walk quarter-notes into B7 (A–B or F♯–A approach). B7 = V of Em with D♯ leading tone — lean into it, resolve cleanly to E. F♯7 is a secondary dominant (V of Bm) — briefly tonicizes B minor, play F♯ root firmly. Amsus2/F♯ = F♯ in bass (pedal tone), beautiful colour — stay on F♯. B7♯9 is Hendrix-tension — stay on B, let the harmony clash above. Em = resting home; build tension on every B7 resolution.

MODULATION Gm→Em Intro walking line (Gm → A7 → D7) is sophisticated jazz movement — walk smoothly G → A → Bb → C → D → Eb → D to prep D7. Edim = E G♭ Bb (passing) — hold G bass through it, don't jump. D7 = V of Gm with F♯ leading tone — resolve hard to G. B7 is your pivot — it's both the iii° of Gm world and the V of the new Em — make that chord your landing pad, then drop your bass down a minor 3rd (G → E). After mod: mirror your Gm shapes in Em — same fingering, new root. The A major chord (new "F" chord) is the brightness you had before — keep the bass crisp.

POP ANTHEM Symphonic, dramatic Sertab energy. Drive 8ths through the F♯m7 → E → D → Bm descent — that's your chorus backbone (F♯–E–D–B bass walk). Punch the root on every chorus downbeat. G♯dim is a passing diminished — keep F♯ bass underneath, don't chase the root. C♯7sus4: stay on C♯ bass, the sus4 resolves in the harmony above you. D♯dim / Cdim in the verse are chromatic passers — don't overthink, stay on root. Over C♯7 lean on E♯ (harmonic minor) as approach to F♯m. Full tone, authority, no timidity.

INDIE-ROCK CLEAN Pinhani's style is never aggressive — clean 8ths, thoughtful lines, no filling during vocals. A major = V of Dm with C♯ leading tone — that's your tension chord; play A root firmly and let the C♯ melody approach resolve to D. The Dm–Gm–C–F–A loop has a circular, hopeful feel; let each chord breathe a full bar. Outro (x10) is your gradual build: start with roots only, add 5ths, then octave jumps on A for lift in the last 3 passes. Don't peak too early.

80s MFÖ POP-ROCK Root-5-octave pumping 8ths is your groove (B → F♯ → B-up-octave) — classic 80s pop-rock feel. Bm–G–F♯ is the stable foundation, punchy and bouncy. F natural chord (not F♯) in verse 2 = chromatic surprise — play F nat bass firmly, it's intentional, don't flinch. G♯m in the solo: G♯ bass creates tritone tension against D (Bm's 3rd). Over F♯ (major) lean on A♯ (harm minor) as leading tone into B. C♯m: glide from A to C♯ smoothly. Energy stays upbeat throughout — don't drop the bounce.

BAS YÜRÜYÜŞÜ ★70s TURKISH CLASSIC Your walking bass feature in Em. Concrete walking lines:
• Intro (Em→C→D7→Bm→Em): E · G · A · B · C · B · A · G (into D7) · D · E · F♯ · G (into Bm) · B · A · G · F♯ (back to Em).
• Verse Em→Am: E · D · C · B · A (chromatic descent).
• Am→D7: A · B · C · C♯ · D (chromatic approach).
• D7→G: D · F♯ · A (D7 arpeggio up) to G.
• C→B7: C · B · A♯ · B (half-step into B7).
B7 = V of Em, D♯ is its 3rd (harmonic minor) — always land D♯→E strongly. D7 = secondary V of G. G/B7 = G chord with B bass (pedal into B7) — confirm with the band. Solo: C–D7–Bm–Em, walk with swagger.

MODULATION x2EUROVISION-ERA BALLAD Landing tones: E → F → F♯ root. Each half-step lifts dynamics a notch — plan: mp → mf → f. Root-5 ballad pattern per section, no fills during vocals. Pivot chords: B7 → Em, C7 → Fm (both dominants of the new tonic), C♯7 → F♯m. Memorize the three dominants cold — they're your bridge across each modulation. Over each V7 chord, use that key's harmonic minor (D♯ · E · E♯) as the leading tone. Final F♯m section ends with a la-la-la fade — let the bass line sing freely, walking F♯–E–D–C♯–F♯. Sonuna bak confirmed: resolves to F♯m.

HÜSEYIN MELODİ You play the intro/outro melody — know it cold. 90s Turkish rock drive: lock tight with the kick, steady 8th-note pulse, no fancy slides. Verse/chorus Em–Bm: root–5 alternation in 8ths (E–B / B–F#), lean on the downbeats, keep it punchy. Cm moment (♭vi): sit hard on C natural — that chromatic drop is the hook, don't walk away from it. Bridge G–D–C–D: straight roots in 8ths, push into the chorus. Bridge E major: one bar — play E root, skip G/G# (let guitar spell the chord). Post-chorus Em–D alternation: tight 8ths, same energy as intro. "Hüseyin Çalış lan" = full commitment. 🔥

90s TURK POP 1995 Mirkelam classic — breezy but punchy. Verse pulse: steady 8ths on A root, open bright tone. On the Asus4 don't change the bass — still sit on A, let the guitar suspend. Verse tail Bm–F#m–E: root–5 walk (B–F#, F#–C#, E–B), this is the hook resolution. Nakarat Bm–E–A: classic ii–V–I pop resolution; land the A on the downbeat with conviction. Feel: 90s radio pop swagger — sunny but with grown-up longing.

CHROMATIC WALK 1996 Mirkelam mega-hit, nostalgic mid-tempo. Intro/outro G–C–D7–G: walk the bass chromatically G · A B C · C# D · G — that ascending line IS the hook, lock it in. Verse G–Am–D: root–5 on G and Am (G–D, A–E), then D root sustained. C–D–G–Em: classic IV–V–I–vi, walk down G→F#→E between G and Em. D7 moments: emphasize the C natural (flat 7) for that pre-dominant pull. Nakarat solo: fill with G Major Pentatonic (G A B D E) over the changes, leave space. Feel: melancholic pop, sit in the pocket, no showboating.

LINE CLICHÉ MFÖ classic — the bass IS the song. Intro/verse/ara: play the descending chromatic line A · G · F# · F straight and steady — don't embellish, it's the whole identity. Half notes or dotted quarter feel works. Verse Am–G–E7: walk A → G → G# (chromatic into E7 root); on E7 sit on E, let the G# in the chord do the leading-tone work. Chorus D → Dm: bass stays on D through both — the F#/F change is guitar territory. F–G–E7: F → G → E (walk through F#? or direct), land E7 for the re-intro into Am. Tone: warm, slightly dark, fingerstyle — MFÖ's Özkan Uğur pocket. Keep the ritim loop discipline the doc calls for.

MODAL MIXTURE · 90s TR POP F#m home, seasoned with Phrygian ♭II (G) and harmonic-minor V (C#). Verse hook: F#m ↔ G is a half-step wiggle — play F# and G roots square, no embellishment, the chord change is the whole identity. Verse turn E–C#m–A–G#m–C#: descending pop cadence, walk E → D → C# → B → A under E-C#m-A for a smooth line, land G#m-C# as the dominant setup. Pre-chorus D → E: the ♭VI–♭VII lift. C#m–F#: quick move to F# major (Picardy colour) — hold F# firm under "kendini". Chorus C# → D: chromatic step up from dominant to ♭VI, then the C# ⇄ D swing drives the outro — lean hard into both roots. On C#: voice E# (fret 4, G-string) or bare C# root — E# is the leading-tone engine pulling home.