Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
İlkay Akkaya - Gelme - Chord
Key D major – B minor Chords Bm, F#, Em, B, E Easy key C (capo 2)
No ratings yet
or your user informations
Make it yours
Text size
Key: D | Bm
Capo: 0
Em Em Bm Bm F# F# Bm B
Em Em Bm Bm F# F# Bm E Bm
Bm F#
Zamanın elinde ah kir pas içinde kalbim
Em F# Bm F#
Ne keder ne neşe sis pus içinde kaldım
Bm F#
Dursam da durulmaz pek hayra yorulmaz halim
Em F# Bm F#
Oldum bir derbeder gelsen ne fark eder zalim
Em
Gelme
Bm
İnanamazsın gelme
F#
Dayanamazsın gelme
Bm B
Kurtaramazsın geeelme
Em Em Bm Bm F# F# Bm B
Em Em Bm Bm F# F# Bm E Bm
Bm F#
Hiç kimse avutmaz yaşanmış sayılmaz ömrüm
Em F# Bm F#
Alay etti yıllar ne ağladım ne de güldüm
Bm F#
Hayatın tadını unuttum adımı bilsen
Em F# Bm F#
Çekilmez bu keder artık ne fark eder gelsen
Em
Gelme
Bm
İnanamazsın gelme
F#
Dayanamazsın gelme
Bm B
Kurtaramazsın geeelme
End of song Play again?
İlkay Akkaya - Gelme Tabs
NotesX
Harmony analysis
İlkay Akkaya – Gelme: key and chord analysis
The song opens on Em and ends on B. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
- #7 = A# (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 B minor side because Bm is heard 26 times while D never appears and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 14× |
| II | E | Chromatic colour chordoutside the key | E · G# · B | 2× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 22× |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 26× |
| V/ii | B | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# | 4× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 26× |
| V/iv | B | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# | 4× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | 14× |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 2× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 22× |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 68 times in total; 2 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# is V/vi, a secondary dominant heading for Bm. B acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×12
- Em Bm Dii → vi Bmiv → iminor plagal ×6
- Em F# Dii → V/vi Bmiv → Viv → V ×4
The move to watch is F# → Bm, heard 12 times. From the Bm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- When F# comes, swap the scale's A for A#: 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The first chord is Em; the ear learns where home is within a second. Bm, F#, Em, B carry the song: vi–V/vi–ii–V/ii relative to D, i–V–iv–V/iv relative to Bm. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F# → Bm (V/vi → vi in D, V → i in Bm): harmonic-minor cadence — the major V resolves dramatically. Ending on B, the song seals D 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.
İlkay Akkaya - Gelme 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Murat AkMusic: Murat AkArrangement: Çağatay Kadı
Levent Canen
Levent Canen
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.