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)
Kendine Müzisyen - Bekle Dedi Gitti - Chord
Key G major – E minor Chords Em, B7, Am Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Am B7 Em
Bekle dedi gitti ben beklemedim, o da gelmedi ya
Am B7 Em
Ölüm gibi bir şey oldu ama ama ama kimse ölmedi
Em Am B7 Em
Aşk ateşi yanar yanar söner mi
Am B7 Em
Gönül yarası bir gün geçer mi
Am B7 Em
Öyle sevdim içim dışım enerji
Am B7 Em
E dur bakalım döner belki
Em Am B7 Em
Bekle dedi gitti ben beklemedim, o da gelmedi ya
Am B7 Em
Ölüm gibi bir şey oldu ama ama ama kimse ölmedi
Em Am B7 Em
Em Am B7 Em
Eğer başını alıp kaçıp giderse
Am B7 Em
Olur da bir gün beni terkederse
Am B7 Em
Hangi dağda ölürüm bilmem, bilinmez
Am B7 Em
Gitsin bakalım kolaysa öyle
Em Am B7 Em
Bekle dedi gitti ben beklemedim, o da gelmedi ya
Am B7 Em
Ölüm gibi bir şey oldu ama ama ama kimse ölmedi
Em Am B7 Em
Em Am B7 Em
Ah bebeğim beni ne çok severdi
Am B7 Em
Ruh ikizim, canım derdi
Am B7 Em
E noldu şimdi bu aşk böyle biter mi
Am B7 Em
E dur bakalım, döner belki
Em Am B7 Em
Bekle dedi gitti ben beklemedim, o da gelmedi ya
Am B7 Em
Ölüm gibi bir şey oldu ama ama ama kimse ölmedi
B7 Em Am B7 Em Am B7 Em
Kimse öllllllmedi, ölllmediiii, ooooo
Em Am B7 Em
Bekle dedi gitti ben beklemedim, o da gelmedi ya
Am B7 Em
Ölüm gibi bir şey oldu ama ama ama kimse ölmedi
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Kendine Müzisyen - Bekle Dedi Gitti Tabs
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Harmony analysis
Kendine Müzisyen – Bekle Dedi Gitti: key and chord analysis
The song opens on Em and ends on Em. 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)
- #7 = D# (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 E minor side because it both starts and finishes on Em, Em is heard 37 times while G never appears and the major V chord points straight at Em. 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 | 26× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 27× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 37× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 37× |
| 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 | 26× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 27× |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 3 different chords appear 90 times in total; 2 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em.
Chord movement
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×27
- Am B7 Gii → V7/vi Emiv → V7iv → V ×26
The move to watch is B7 → Em, heard 27 times. From the Em side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi (secondary resolution: B7 resolves a fourth up to Em). 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over B7, 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.
- When B7 comes, swap the scale's D for D#: 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 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
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Em, B7, Am; read them as vi–V7/vi–ii in G or i–V7–iv in Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on B7 → Em (V7/vi → vi in G, V7 → i in Em): harmonic-minor cadence — the major V resolves dramatically. The final chord is Em; the ear comes to rest in Em.
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.
Kendine Müzisyen - Bekle Dedi Gitti 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: Kaan TangözeMusic: Kaan Tangöze
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