Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Barış Manço - Gülpembe - Chord
Key G major – E minor Chords Em, D, Am, G, F Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em Am
Sen gülünce güller açar Gülpembe
Em D G F Em
Bülbüller seni söyler, biz dinlerdik Gülpembe
Am
Sen gelince bahar gelir Gülpembe
Em D G F Em
Dereler seni çaglar, sevinirdik Gülpembe
D Em
Güz yağmurlarıyla, birgün göçtün gittin
D Em
İnanamadik Gülpembe
D Em
Bizim iller sessiz, bizim iller sensiz
D Em
Olamadı Gülpembe
Em Am
Dudağımda son bir türkü Gülpembe
Em D G F Em
Hala hep seni söyler, seni çağırır Gülpembe
Em Am
Dudağımda son bir türkü Gülpembe
Em D G F Em
Hala hep seni söyler, seni çağırır Gülpembe
Em Am
Gözlerimde son bir umut Gülpembe
Em D G F Em
Hala hep seni arar, seni bekler Gülpembe
D Em
Güz yağmurlarıyla, birgün göçtün gittin
D Em
İnanamadik Gülpembe
D Em
Bizim iller sessiz, bizim iller sensiz
D Em
Olamadı Gülpembe
Em Am
Dudağımda son bir türkü Gülpembe
Em D G F Em
Hala hep seni söyler, seni çağırır Gülpembe
Em Am
Gözlerimde son bir umut Gülpembe
Em D G F Em
Hala hep seni arar, seni bekler Gülpembe
End of song Play again?
Barış Manço - Gülpembe Tabs
/videos/baris-manco-gulpembe-tab.mp4
NotesX
Harmony analysis
Barış Manço – Gülpembe: key and chord analysis
The song opens on Em and ends on Em. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because it both starts and finishes on Em and Em is heard 28 times against 7 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | 7× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 7× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | 15× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 28× |
| bVII | F | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F · A · C | 7× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 28× |
| bII | F | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F · A · C | 7× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 7× |
| iv | Am | Subdominant — moves away from home | A · C · E | 7× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 15× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 64 times in total; 4 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×8
- D G GV → Iauthentic cadence EmVII → III ×7
- Am Em Gii → vi Emiv → iminor plagal ×7
The move to watch is D → Em, heard 8 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Em, land on E, G, B — 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.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.
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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Em; the ear learns where home is within a second. The backbone is Em, D, Am, G — vi–V–ii–I from the G side, i–VII–iv–III from the Em side. F briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. It closes on Em, letting the Em 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.
Barış Manço - Gülpembe 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: Barış MançoMusic: Ahmet Güvenç
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