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)
Ebru Gündeş - Vakitsiz Geldin - Chord
Key D major – B minor Chords F#m7, Em7, Gmaj7, Bm7, A, D, Dmaj7, C#dim Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm7 Bm7 F#m7 Em7 F#m7 Gmaj7 Em7 A Dmaj7 Em7 F#m7
F#m7 Em7 F#m7
Hoşgeldin de, vakitsiz geldin
Gmaj7 Bm7
Bir mana yok yüzünde, nedir derdin
Gmaj7 Bm7 F#m7
Çok durulmuşsun, belli ki yorulmuşsun
Em7 F#m7
Sanki cennetten, kovulmuşsun
F#m7 Em7 F#m7
Gel derdim de, biraz geç kaldın
Gmaj7 Em7
Ben hala burdayım, öyle mi sandın
Gmaj7 F#m7
Çok inanmışsın, belli ki yanılmışsın
Em7 F#m7
Sanki kalbimden, kazınmışsın
F#m7
Artık sevmek mümkün değil
Şimdi ne söylesem
A
Yalan yalan yalan
Em7 Gmaj7 F#m7 Em7 D C#dim Bm7
Sen suçlusun kader değiiiiiiiiiiiiiiiiiiiiiil
Bm7
Nasıl hissettiğimi
Em7
Meraktasındır şimdi
A
Bugün galiba senden
D
İyiyim işte
Gmaj7
Cinayet mahaline
F#m7
Dönen katil gibisin
Em7
Bak hala hayattayım
Gmaj7 F#m7
Ölmedim işte
End of song Play again?
Ebru Gündeş - Vakitsiz Geldin Tabs
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Harmony analysis
Ebru Gündeş – Vakitsiz Geldin: key and chord analysis
The song opens on Bm7 and ends on F#m7. Its chords belong to both D major and Bm, so every chord below is read both ways.
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 it opens on Bm and Bm is heard 6 times against 3 for D. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | 2× |
| Imaj7 | Dmaj7 | Tonic — home | D · F# · A · C# | 1× |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 12× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 15× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 8× |
| V | A | Dominant — strongest pull home | A · C# · E | 3× |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 6× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 6× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | 1× |
| III | D | Relative major — the bright side | D · F# · A | 2× |
| IIImaj7 | Dmaj7 | Relative major — the bright side | D · F# · A · C# | 1× |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 12× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 15× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 8× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 3× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 48 times in total; 8 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
- Em7 A Dii7 → Vii → V Bmiv7 → VII ×2
- Gmaj7 Bm7 DIVmaj7 → vi7 BmVImaj7 → i7VI → i ×2
- A Dmaj7 DV → Imaj7authentic cadence BmVII → IIImaj7 ×1
- A D DV → Iauthentic cadence BmVII → III ×1
The move to watch is Em7 → A, heard 2 times. From the Bm side it is iv7 → VII; from the D side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Gmaj7, land on G, B, 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 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
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Bm7 lays a solid floor for everything that follows. The backbone is F#m7, Em7, Gmaj7, Bm7 — iii7–ii7–IVmaj7–vi7 from the D side, v7–iv7–VImaj7–i7 from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → A (ii7 → V in D, iv7 → VII in Bm): ii → V — the classic preparation of the dominant. Ending on F#m7, the song seals D as home.
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.
Ebru Gündeş - Vakitsiz Geldin 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: Şebnem SungurMusic: Gökhan TepeArrangement: Alper Atakan
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