Duman - Bekle Dedi Gitti - Chord

Key G major – E minor Chords Em, B7, Am7 Easy key C (capo 7)

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Capo 0

 
Em               Am7            B7         Em
Bekle dedi gitti ben beklemedim, o da gelmedi ya
                  Am7             B7         Em
Ölüm gibi bir şey oldu ama ama ama kimse ölmedi
 
Em     Am7   B7         Em
Aşk ateşi yanar yanar söner mi
         Am7    B7      Em
Gönül yarası bir gün geçer mi
       Am7    B7        Em
Öyle sevdim içim dışım enerji
        Am7     B7     Em
E dur bakalım döner belki
 
Em               Am7            B7         Em
Bekle dedi gitti ben beklemedim, o da gelmedi ya
                  Am7             B7         Em
Ölüm gibi bir şey oldu ama ama ama kimse ölmedi
 
Em  Am7  B7  Em
 
Em     Am7    B7          Em
Eğer başını alıp kaçıp giderse
         Am7    B7         Em
Olur da bir gün beni terkederse
      Am7       B7             Em
Hangi dağda ölürüm bilmem, bilinmez
         Am7     B7      Em
Gitsin bakalım kolaysa öyle
 
Em               Am7            B7         Em
Bekle dedi gitti ben beklemedim, o da gelmedi ya
                  Am7             B7         Em
Ölüm gibi bir şey oldu ama ama ama kimse ölmedi

Em  Am7  B7  Em
 
Em    Am7    B7          Em
Ah bebeğim beni ne çok severdi
      Am7     B7    Em
Ruh ikizim, canım derdi
        Am7     B7           Em
E noldu şimdi bu aşk böyle biter mi
         Am7     B7     Em
E dur bakalım, döner belki
 
Em               Am7            B7         Em
Bekle dedi gitti ben beklemedim, o da gelmedi ya
                  Am7             B7         Em
Ölüm gibi bir şey oldu ama ama ama kimse ölmedi
 
B7                 Em  Am7  B7  Em   Am7  B7  Em
Kimse öllllllmedi, ölllmediiii,  ooooo
 
Em               Am7            B7         Em
Bekle dedi gitti ben beklemedim, o da gelmedi ya
                  Am7             B7         Em
Ölüm gibi bir şey oldu ama ama ama kimse ölmedi

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Duman - Bekle Dedi Gitti Tabs

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Harmony analysis

Duman – 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.

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)

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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	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	—

Seen from E minor
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	—
iv7	Am7	Subdominant — moves away from home	A · C · E · G	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
Am7 B7 Gii7 → V7/vi Emiv7 → 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 Am7, 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. Em, B7, Am7 carry the song: vi–V7/vi–ii7 relative to G, i–V7–iv7 relative to 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. It closes on Em, letting the Em side have the last word.

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.