Velet - Gözlerimi Kapattım - Chord

Key D major – B minor Chords G, F#m, A, Bm Easy key G (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

F#m  G  F#m  G  Bm  A  G  A  G  

  F#m                   G
Kapattım gözlerimi karanlıklar çökene kadar
            F#m  
Düşlerimi bıraktım
         G                               Bm
Sevdanın yollara düştüğü gün gözlerimi kapattım
          A                             G
Artık hiç bir şeyden emin değilim çocuk kaldım
             A                        F#m
Sana çok şey söylerdim ama aklında tutmazsın

                        G
Bir gün düşerse başın dara 
                      F#m
Unuttuğun gibi hatırlama
                          G
Yaraysa açtığın devamlı kanar
                           Bm
Kabuklarım çocukluğumdan yana

Bm         A                    G
Nasıl yalnızım kalmışım bir başıma
           A          G          F#m
Nasıl sensizim yaş düşmüş saçlarıma

  F#m                   G
Kapattım gözlerimi karanlıklar çökene kadar
            F#m  
Düşlerimi bıraktım
         G                               Bm
Sevdanın yollara düştüğü gün gözlerimi kapattım
          A                             G
Artık hiç bir şeyden emin değilim çocuk kaldım
             A                        F#m
Sana çok şey söylerdim ama aklında tutmazsın

                        G
Bir gün dönerse yazın kışa 
                                     F#m
Bir gün duyarsan adım karışmış bir suça
                                        
Bil ki umutlarım tükenmiş
G
Kalan bütün güzelliklerim kötüyle bilenmiş
Bm
Bütün sevdiklerim teker teker gidermiş
A
Anlamıştım yaşım erken büyüdüğümde bitermiş
G
Yıllar bugün bir yabancı sana
A            G                         F#m
Gitmek isteyene tek bir teker yetermiş

End of song Play again?

Velet - Gözlerimi Kapattım Tabs

NotesX

Harmony analysis

Velet – Gözlerimi Kapattım: key and chord analysis

The song opens on F#m and ends on F#m. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C# (leading tone, pulls home)
4 = G (the note that leans on the 3rd)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the B minor side because Bm is heard 6 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii	Em	Supertonic — prepares the dominant	E · G · B	—
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	12×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	18×
V	A	Dominant — strongest pull home	A · C# · E	10×
vi	Bm	Relative minor — the melancholy side	B · D · F#	6×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	6×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iv	Em	Subdominant — moves away from home	E · G · B	—
v	F#m	Minor dominant — soft pull	F# · A · C#	12×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	18×
VII	A	Subtonic — steps back to the tonic	A · C# · E	10×

Analysis

The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 46 times in total; 4 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

G Bm DIV → vi BmVI → iVI → i ×5
G A DIV → VIV → V BmVI → VIIVI → VII ×5

The move to watch is G → Bm, heard 5 times. From the Bm side it is VI → i (VI → i: falls a half step into home); from the D side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — 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 D major shapes

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening F#m lays a solid floor for everything that follows. G, F#m, A, Bm carry the song: IV–iii–V–vi relative to D, VI–v–VII–i relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Bm (IV → vi in D, VI → i in Bm): VI → i — falls a half step into home. It closes on F#m, letting the D 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.