Kenan Doğulu - Dön Gel - Chord

Key G major – E minor Chords Am, Em, G, B7, Bm, C, D, B Easy key C (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Em
Bir hayatım bile yok
Am
Bir canım bile yok
Em
Sen gittin gideli yar
B7
Bir güzel cümlem yok  

Em
Dilim alışmış bir kere
Am
Aşkım diyorum bin kere
Em
Olur olmaz kimselere
B7
Sudan ucuz sebeplerle

Am                 G
İlacımın saati kaçtı
B7                     Em
Acıktım ama iştahım kaçtı
Am                          G
Yerini beğenmiş çiçekler bile
Am                Bm
İsyan edip dün soldu

Bm       C       D           Em
Dön gel dön gel alışamam yokluğuna
Bm     C           D            Em
Affet dön gel savaşamam yokluğunla

Am            G          Am           Em
Bu ev sensiz yuva değil yuvamı istiyorum
Am            G           Am             B
Sensiz bu can yaşanmıyor seni geri istiyorum

End of song Play again?

Kenan Doğulu - Dön Gel Tabs

NotesX

Harmony analysis

Kenan Doğulu – Dön Gel: key and chord analysis

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

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)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)
#7 = D# (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 E minor side because it opens on Em, Em is heard 8 times against 4 for G and the major V chord points straight at Em. 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	4×
ii	Am	Supertonic — prepares the dominant	A · C · E	9×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	3×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	3×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	1×
IV	C	Subdominant — moves away from home	C · E · G	2×
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	8×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	8×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	4×
iv	Am	Subdominant — moves away from home	A · C · E	9×
v	Bm	Minor dominant — soft pull	B · D · F#	3×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	3×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	1×
VI	C	Submediant — warm colour	C · E · G	2×
VII	D	Subtonic — steps back to the tonic	D · F# · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 32 times in total; 6 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 / B is V7/vi, a secondary dominant heading for Em.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×3
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×2
D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
C D GIV → VIV → V EmVI → VIIVI → VII ×2
Am B Gii → V/vi Emiv → Viv → V ×1

The move to watch is Am → Em, heard 3 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → vi. 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 Am, land on A, C, E — 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.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
When B7 comes, swap the scale's D for D#: 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 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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Am, Em, G, B7; read them as ii–vi–I–V7/vi in G or iv–i–III–V7 in Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. It closes on B, letting the G 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.