Barış Manço - Geçti Dost Kervanı - Chord

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

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Capo 0

Gm           Am   Gm       Am
Şu karşı yaylada göç katar katar
Gm         Am    Gm      Am
Bir yiğidin derdi seyrimde tüter
Gm          Am   Gm     Am 
Bu ayrılık bana ölümden beter
Gm          Dm           
Geçti dost kervanı 
F       C    Bb    Gm
Eyleme beni eyleme beni

Gm         Am     Gm     Am
Şu benim sevdiğim  başta oturur
Gm         Am    Gm     Am
Bu güzelin derdi beni bitirir
Gm          Am   Gm     Am
Bu ayrılık bize zulüm getirir
Gm          Dm           
Geçti dost kervanı 
F       C    Bb    Gm
Eyleme beni eyleme beni

Gm            Am     Gm     Am
Pir Sultan Abdalım  dağlar aşalım
Gm         Am      Gm     Am
Aşalım da dost illere düşelim  
Gm      Am     Gm      Am
Çok ekmeğin yedim helalleşelim 
Gm          Dm           
Geçti dost kervanı  
F      C   Bb  Gm
Eyleme beni eyleme beni

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Barış Manço - Geçti Dost Kervanı Tabs

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Harmony analysis

Barış Manço – Geçti Dost Kervanı: key and chord analysis

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

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)

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 it both starts and finishes on Gm and Gm is heard 24 times against 3 for Bb. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	3×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
V/V	C	Secondary dominant V/V — leads to Fsecondary dominant	C · E · G	3×
iii	Dm	Mediant — a tonic-family shade	D · F · A	3×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	3×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	24×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
vii	Am	Chromatic colour chordoutside the key	A · C · E	18×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	24×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
ii	Am	Chromatic colour chordoutside the key	A · C · E	18×
III	Bb	Relative major — the bright side	Bb · D · F	3×
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
IV	C	Major IV — Dorian / melodic-minor colourmodal colour	C · E · G	3×
v	Dm	Minor dominant — soft pull	D · F · A	3×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	3×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 54 times in total; 4 of them sit naturally inside the shared scale. C acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — 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

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

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Gm, Am, Dm, F; read them as vi–vii–iii–V in Bb or i–ii–v–VII in Gm. C adds a moment of surprise: secondary dominant V/V — leads to F. It closes on Gm, letting the Gm 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.