Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Melike Şahin - Geri Ver - Chord
Key Eb major – C minor Chords Ab, Bb, Gm, Cm, Fm Easy key G
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Key: Eb | Cm
Capo: 0
Gm Ab Gm Ab Gm Ab Bb Ab
Cm Bb
Müsaade etsek acımadan aksın
Ab Bb
Kara sular inmiş aramıza
Cm Bb
Güneşim öksüz ama bana kalsın
Ab
Günlerimi karartma
Cm Bb
Mabedimde gömülü hazinen
Ab Bb
Geçemem içinden duruyorum
Cm Bb
Sırtın dönmüş bana niye bilmem
Ab
Ağırıma gidiyor
Bb Ab
Durmaz böyle taştan
Bb Ab
Büyük yük bizi aşar
Bb Ab
Yol ıssız taşıyamam
Fm Ab
Isıtan ellerin olmazsa
Bb Ab
Baksan yine bana
Bb Ab
Bir umut varsa avuçta
Bb Ab
Yaslan sana sağlam
Fm Ab
Küskün omzuma
Gm Ab
Kaldı yine ortada
Gm Ab
Halini bi sorsana
Gm Ab
Neşemi alıp gittin
Bb Ab
Diyemem geri ver
Gm Ab
Kaldı yine ortada
Gm Ab
Halini bi sorsana
Gm Ab
Neşemi alıp gttin
Bb Ab
Geri gel, geri ver
End of song Play again?
Melike Şahin - Geri Ver Tabs
Cihan Mürtezaoğlu
NotesX
Harmony analysis
Melike Şahin – Geri Ver: key and chord analysis
The song opens on Gm and ends on Ab. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because Cm is heard 4 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 2× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 9× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 24× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 15× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 4× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 4× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 2× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 9× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 24× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 15× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 54 times in total; 5 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
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×11
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
- Ab Cm EbIV → vi CmVI → iVI → i ×2
The move to watch is Ab → Bb, heard 11 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 4 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. The backbone is Ab, Bb, Gm, Cm — IV–V–iii–vi from the Eb side, VI–VII–v–i from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. The final chord is Ab; the ear comes to rest in Eb.
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.
Melike Şahin - Geri Ver 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: Melike ŞahinMusic: Melike Şahin
Canberk Ünsal
Canberk Ünsal
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