Aytekin Ataş - Gitsen de - Chord

Key Bb major – G minor Chords Gm, Cm, D Easy key C

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Capo 0

   Gm         Cm          Gm          Cm          Gm
Yollar nereye götürecek seni, bu yara bitirecek seni
          Cm              Gm
Hangi aşk dindirebilir ki öfkeni
       Cm            Gm         Cm          Gm
Sevmek eskisinden de zor, yalnızlık ateşten kor
    Cm              Gm
Zaman geçse de yine sönmüyor

Gm    Cm             Gm               Cm          Gm
Gör hayat ölüm kadar ağır, kulaklar birbirinden sağır, vicdanlar kör
      Cm              Gm            Cm            Gm   
Gör hayat ölüm kadar ağır, kulaklar birbirinden sağır, vicdanlar kör
Cm                      Gm
Herkes bir gün yalnız kalır

Gm
Gece çöküp gün kararınca, her yanını nefret sarınca
Cm                        D
Kader seni çağırınca hadi git
Gm
Sokaklar üstüne varınca, masum sesler bağrınca
Cm                        D                      Gm
Kader seni çağrınca hadi, gitsen de zor gitmesen de

  Gm      Cm             Gm            Cm        Gm
Aylar, günler uzar azar azar, ay ışığı yalnız gezer
         Cm             Gm
Her gece o eski yaradan kan sızar 
   Gm      Cm             Gm              Cm            Gm
Yıllar, mevsimler gelir geçer, her kuş kendi menziline uçar
            Cm              Gm    
Her anahtar bir gün bir kapıyı açar

Gm    Cm             Gm               Cm          Gm
Gör hayat ölüm kadar ağır, kulaklar birbirinden sağır, vicdanlar kör
      Cm              Gm            Cm            Gm   
Gör hayat ölüm kadar ağır, kulaklar birbirinden sağır, vicdanlar kör
Cm                      Gm
Herkes bir gün yalnız kalır

Gm
Gece çöküp gün kararınca, her yanını nefret sarınca
Cm                        D
Kader seni çağırınca hadi git
Gm
Sokaklar üstüne varınca, masum sesler bağrınca
Cm                        D                      Gm
Kader seni çağrınca hadi, gitsen de zor gitmesen de

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Aytekin Ataş - Gitsen de Tabs

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Harmony analysis

Aytekin Ataş – Gitsen de: 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)
#7 = F# (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 G minor side because it both starts and finishes on Gm, Gm is heard 33 times while Bb never appears and the major V chord points straight at Gm. 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	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	26×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	4×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	33×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	33×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	26×
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	4×
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	—

Analysis

The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 63 times in total; 2 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm.

Chord movement

Cm Gm Bbii → vi Gmiv → iminor plagal ×22
D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×4
Cm D Bbii → V/vi Gmiv → Viv → V ×4

The move to watch is Cm → Gm, heard 22 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
When D comes, swap the scale's F for F#: 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 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

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, Cm, D; read them as vi–ii–V/vi in Bb or i–iv–V in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. The final chord is Gm; the ear comes to rest in Gm.

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.