Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Mela Bedel - Gel Dönelim Eve - Chord
Key Ab major – F minor Chords Fm7, Cm7, Bbm7, Db, Fm Easy key C
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Key: Ab | Fm
Capo: 0
Fm7 Cm7 Bbm7 Fm7
x2
Cm7
Hudey Hudey!
Fm7
Beni sana düşüren bu dert ney?
Cm7
Ki istemiyorum hayır dedim
Fm7 Cm7
Ama yine bak nereye geldim?
Sana hey
Cm7 Fm7
Dört bi' yandan bağlı kalbim bari bi dinle
Cm7 Fm7
Ele malamat etme yeter ki ne istersen iste
Fm7
Ödedim bedelleri bilmez hiç kimse
Cm7 Bbm7
İlacım sensin gel de bitsin bu çile
Fm7 Db Fm
Ben senden gidemedim sen de gidemeeeeeee
Fm7
Gel dönelim eve
Cm7
Gel dönelim eve
Bbm7
Gel dönelim eve
Fm7
Gel
Fm7 Cm7 Bbm7 Fm7
x2
End of song Play again?
Mela Bedel - Gel Dönelim Eve Tabs
NotesX
Harmony analysis
Mela Bedel – Gel Dönelim Eve: key and chord analysis
The song opens on Fm7 and ends on Fm7. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it both starts and finishes on Fm and Fm is heard 13 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 4× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 9× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 1× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 12× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 1× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 12× |
| i | Fm | Tonic — home | F · Ab · C | 1× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 4× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 9× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 1× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 27 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
- Bbm7 Fm7 Abii7 → vi7 Fmiv7 → i7minor plagal ×4
- Cm7 Fm7 Abiii7 → vi7 Fmv7 → i7natural-minor cadence ×4
- Db Fm AbIV → vi FmVI → iVI → i ×1
The move to watch is Bbm7 → Fm7, heard 4 times. From the Fm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Ab side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Fm7, land on F, Ab, C — 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 Bbm7, land on Bb, Db, F — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Fm7; the ear learns where home is within a second. Fm7, Cm7, Bbm7, Db carry the song: vi7–iii7–ii7–IV relative to Ab, i7–v7–iv7–VI relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Fm7 (ii7 → vi7 in Ab, iv7 → i7 in Fm): minor plagal — deep and melancholic. It closes on Fm7, letting the Fm 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.
Mela Bedel - Gel Dönelim Eve 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: Mela BedelMusic: Mela BedelArrangement: Celil Yavuz
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