Gökhan Tepe - Günahın Bende - Chord

Key F major – D minor Chords Am, C, Gm, Bb, Dm Easy key C (capo 5)

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Capo 0

Am            Bb         Am  
Gerçek mi bu hal, gerçekten mi gidiyorsun 
C                          Dm          C     Am 
Neden kal demeye tutuk, bu dilim bir garip halim
Gm                          Am
Alışkanlık denen duvar, yıkıldı sanki bu sefer 
C               Dm       C       Am
Geçip gitmene yürekten ben izin verdim 

Dm
Olmuyor olamıyorken 
      Am
Zorlamaktan yoruldum biraz 
       Bb
Biraz kırgın öfkeli 
Gm       Am      Gm    Am
Biraz nihayet kabul ettim

Am            Gm                      Am 
İnşallah dönmezsin geri çok sefer olduğu gibi 
C  
Zor olsa da unutup 
          Bb
Seni yaşarım ben de 
Gm              Am
Malum ya ayrılık hali 
               Gm
Biri haklı hep suçlu biri 
C
İçin rahat olsun senin 
Bb            C   Am
En iyi günahın bende

End of song Play again?

Gökhan Tepe - Günahın Bende Tabs

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Harmony analysis

Gökhan Tepe – Günahın Bende: key and chord analysis

The song opens on Am and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because Dm is heard 3 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	6×
iii	Am	Mediant — a tonic-family shade	A · C · E	12×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	4×
V	C	Dominant — strongest pull home	C · E · G	7×
vi	Dm	Relative minor — the melancholy side	D · F · A	3×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	3×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	6×
v	Am	Minor dominant — soft pull	A · C · E	12×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	4×
VII	C	Subtonic — steps back to the tonic	C · E · G	7×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 32 times in total; 5 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

C Dm FV → videceptive cadence DmVII → iAeolian arrival ×2
Am Dm Fiii → vi Dmv → inatural-minor cadence ×1
Gm C Fii → Vii → V Dmiv → VII ×1
Bb C FIV → VIV → V DmVI → VIIVI → VII ×1

The move to watch is C → Dm, heard 2 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. Am, C, Gm, Bb carry the song: iii–V–ii–IV relative to F, v–VII–iv–VI relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. The final chord is Am; the ear comes to rest in F.

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.