Melike Şahin - Hepsi Geçti - Chord

Key F major – D minor Chords Dm, Gm, A, Bb, F, Em7b5, Am, C Easy key C (capo 5)

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Capo 0

Dm                  Gm         A
 Bağrımda durmadan öten dertli bülbülün
Dm                Gm      A
 Mecali kalmadı artık, sustu
Dm                  Gm       A
 Yoruldu kalbi donmuşun gölgesinde
Dm                   Gm     A
 Büküp boynunu bir anda, durdu

Dm        Gm         F         Em7b5
 Götürsem türlü bağlara el değmemiş güllere
Dm       Gm         F          Em7b5     A
 Üstünde soluklansa erişebilse ümidine yine

  Dm                     Bb       Dm
Bazan düşüremez insan kalbin ateşini
                        Bb        Gm
Bazan yükseliyo candan aşıp nefesimi
     Dm             Am         Dm
Bulursan bana söyle, niye böyle alev her yanım?
        C             Bb              Gm         Dm
Bu da geçer de, hepsi geçti, kaç kere söndü yangının

Dm                  Gm       A
 Sandıkların en altına saklı sırları
Dm                  Gm      A
 Ne affettim ne unuttum, sustum
Dm                  Gm     A
 Ağrımda benle bekliyor yalnız çocuk
Dm                 Gm     A
 Uzandı kırgın elinden tuttum
 
Dm        Gm         F         Em7b5
 Götürsem türlü bağlara el değmemiş güllere
Dm       Gm         F          Em7b5     A
 Üstünde soluklansa fısıldasam kulağına 'dayan'
 
   Dm                     Bb       Dm
Bazan düşüremez insan kalbin ateşini
                        Bb        Gm
Bazan yükseliyo candan aşıp nefesimi
     Dm             Am         Dm
Bulursan bana söyle, niye böyle alev her yanım?
        C             Bb              Gm         Dm
Bu da geçer de, hepsi geçti, kaç kere söndü yangının

End of song Play again?

Melike Şahin - Hepsi Geçti Tabs

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Harmony analysis

Melike Şahin – Hepsi Geçti: key and chord analysis

The song opens on Dm and ends on Dm. 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)
#7 = C# (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 D minor side because it both starts and finishes on Dm, Dm is heard 22 times against 4 for F and the major V chord points straight at Dm. 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	4×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	16×
iii	Am	Mediant — a tonic-family shade	A · C · E	2×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	10×
IV	Bb	Subdominant — moves away from home	Bb · D · F	6×
V	C	Dominant — strongest pull home	C · E · G	2×
vi	Dm	Relative minor — the melancholy side	D · F · A	22×
viiø7	Em7b5	Leading-tone chord — tension	E · G · Bb · D	4×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	22×
iiø7	Em7b5	Supertonic — prepares the dominant	E · G · Bb · D	4×
III	F	Relative major — the bright side	F · A · C	4×
iv	Gm	Subdominant — moves away from home	G · Bb · D	16×
v	Am	Minor dominant — soft pull	A · C · E	2×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	10×
VI	Bb	Submediant — warm colour	Bb · D · F	6×
VII	C	Subtonic — steps back to the tonic	C · E · G	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 8 different chords appear 66 times in total; 7 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm.

Chord movement

A Dm FV/vi → vi DmV → iharmonic-minor cadence ×10
Gm A Fii → V/vi Dmiv → Viv → V ×8
Gm Dm Fii → vi Dmiv → iminor plagal ×4
Em7b5 A Fviiø7 → V/vi Dmiiø7 → Vii° → V ×2
Bb Dm FIV → vi DmVI → iVI → i ×2
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2

The move to watch is A → Dm, heard 10 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → vi. 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 Dm, land on D, F, A — 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.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: 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 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 Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, Gm, A, Bb; read them as vi–ii–V/vi–IV in F or i–iv–V–VI in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. Ending on Dm, the song seals Dm as home.

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.

Melike Şahin - Hepsi Geçti 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: Melike şahin

Music: Can kandaz
Melike şahin

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