Blok3 - Gelme İstemem - Chord

Key A major – F# minor Chords F#m, Bm, A, C# Easy key C

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Capo 0

F#m  Bm  A  C#

      F#m
Artık gelme istemem
        Bm
Hevesim kaçtı bi kere
        A
Başkası değmiş tenine
        C#
Bu konu aştı beni de

      F#m
Artık gelme istemem
     Bm
Kimi koyduysan yerime
              A
Sus etme bana tek bir kelime
         C#
Unuturum elbet seni de

F#m  Bm  A  C#
(Tüm şarkı boyunca aynı akor döngüsaü devam eder)

Düzeni bozamazsın sen de seni seveni üzersin
Bu neslin adamı değilim antipatik dersin
Söyleyecek çok şeyin olur da  kursağında kalır
Sen de sözün bittiği yerde bi eyvallah dersin

Bi sigara yakarsın
Biraz hayal edersin
Önce bi isyan eder
Sonra da şükredersin
Bi gün o çok güvendiğin terazi de şaşar
Şeytan kulağına fısıldar
"Bu fikre ne dersin?"

Sevdaya dahil mi bu içimdeki ateş de?
Niye kendimi görüyorum sokaktaki keşte?
Ben kafamdaki mevzuyu hallettim ama
Kalbim seni haklı çıkartmaya çalışmasa keşke

Yılışıkık tavırları bırak biraz edebinle otur
Biz hep böyle gördük bunu adabı budur
Bi kadını sevmek büyük sorumluluk ister
Bi erkek aşık olduğu zaman adam olur

End of song Play again?

Blok3 - Gelme İstemem Tabs

NotesX

Harmony analysis

Blok3 – Gelme İstemem: key and chord analysis

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

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)
#7 = E# (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 F# minor side because it opens on F#m and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	4×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	4×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	4×
IV	D	Subdominant — moves away from home	D · F# · A	—
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	4×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	4×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	4×
iv	Bm	Subdominant — moves away from home	B · D · F#	4×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	4×
VI	D	Submediant — warm colour	D · F# · A	—
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 16 times in total; 3 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C# is V/vi, a secondary dominant heading for F#m.

Chord movement

C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×3

The move to watch is C# → F#m, heard 3 times. From the F#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the A side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is F#m; the ear learns where home is within a second. F#m, Bm, A, C# carry the song: vi–ii–I–V/vi relative to A, i–iv–III–V relative to F#m. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C# → F#m (V/vi → vi in A, V → i in F#m): harmonic-minor cadence — the major V resolves dramatically. The final chord is C#; the ear comes to rest in A.

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.