Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Gökhan Tepe - Gelsen de Anlatsam - Chord
Key Bb major – G minor Chords Dm7, Cm7, Ebmaj7, Eb, Gm7, G7 Easy key C
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Key: Bb | Gm
Capo: 0
Dm7 Dm7 Cm7 Cm7 Ebmaj7 Cm7 Dm7 Ebmaj7
Ebmaj7 Dm7 Ebmaj7 Dm7
Sol yanım söndü, yanmıyor artık
Ebmaj7 Dm7 Cm7 Dm7
Bayıldığım aşktan şehir zifiri karanlık
Ebmaj7 Dm7 Ebmaj7 Dm7
Kayboldu herkes ne isim ne de bir adres
Ebmaj7 Dm7 Cm7 Dm7
Fakir bir hasret elimde şimdi senden emanet
Cm7 Dm7
Oysa serin dallarımda yeşillerin vardı
Cm7 Eb Dm7
İklim hep bahardı bazen yağmur da yağardı
Gm7 Dm7
Tüm bunlar sanki aylar yıllarca önceydi
Cm7 Ebmaj7
Gelsen de anlatsam sana öyleydi böyleydi
Dm7 Cm7
Şimdi hangi cehennemi cennet yapıyorsun
Eb Cm7 Dm7
Hangi kurak topraklara güller ekiyorsun
G7 Cm7
Her kimle ve neredeysen dön ne olursun
Eb Cm7 Dm7
Bıraktığın bu yerde çok özleniyorsun
Ebmaj7 Dm7 Ebmaj7 Dm7
Sol yanım söndü, yanmıyor artık
Ebmaj7 Dm7 Cm7 Dm7
Bayıldığım aşktan şehir zifiri karanlık
End of song Play again?
Gökhan Tepe - Gelsen de Anlatsam Tabs
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Harmony analysis
Gökhan Tepe – Gelsen de Anlatsam: key and chord analysis
The song opens on Dm7 and ends on Dm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because Gm is heard 1 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 13× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 21× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 12× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 3× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 1× |
| V7/ii | G7 | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D · F | 1× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 1× |
| V7/iv | G7 | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D · F | 1× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 13× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 21× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 12× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 3× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 51 times in total; 5 of them sit naturally inside the shared scale. G7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×1
- G7 Cm7 BbV7/ii → ii7secondary resolution GmV7/iv → iv7 ×1
The move to watch is Dm7 → Gm7, heard once. From the Gm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Ebmaj7, land on Eb, G, Bb — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Dm7; the ear learns where home is within a second. The backbone is Dm7, Cm7, Ebmaj7, Eb — iii7–ii7–IVmaj7–IV from the Bb side, v7–iv7–VImaj7–VI from the Gm side. G7 adds a moment of surprise: secondary dominant V/ii — leads to Cm. Keep an ear on Dm7 → Gm7 (iii7 → vi7 in Bb, v7 → i7 in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Dm7; the ear comes to rest in Bb.
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.
Gökhan Tepe - Gelsen de Anlatsam 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 Tepe
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