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)
İrem Derici - Gel Demen de Yeterdi - Chord
Key G major – E minor Chords Em, Am, D, Bm, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em
Dün bi şarkı dinledim, ezberledim sözlerini
D Am Bm Em
Biraz bu şehri anlatıyor, biraz seni biraz beni
Em
Dün bi şarkı dinledim, dokundu nedense içime
D Am Bm Em
Miras gibi yokluğunda varmış gibi bir nedeni
D Am
Ellerim senin ellerine alışmış
D Am
Tüm yanlışlar doğrularla karışmış
C Bm Am Bm
Oooof ooooof
Em
Üzülen giden mi terkedilen mi
D Am Em
Keşkelerle savaşma, gel demen de yeterdi
Em
Üzülen giden mi terkedilen mi
D Am Em
Aklı kalple barıştırıp gel demen de yeterdi
Am Em
Gel demen de yeterdi
D Am
Ellerim senin ellerine alışmış
D Am
Tüm yanlışlar doğrularla karışmış
C Bm Am Bm
Oooof ooooof
Em
Üzülen giden mi terkedilen mi
D Am Em
Keşkelerle savaşma, gel demen de yeterdi
Em
Üzülen giden mi terkedilen mi
D Am Em
Aklı kalple barıştırıp gel demen de yeterdi
Am Em
Gel demen de yeterdi
End of song Play again?
İrem Derici - Gel Demen de Yeterdi Tabs
NotesX
Harmony analysis
İrem Derici – Gel Demen de Yeterdi: 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 14 times while G never appears. 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 14× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 6× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 2× |
| V | D | Dominant — strongest pull home | D · F# · A | 10× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 14× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 14× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 14× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 6× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 2× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 10× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 46 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Am Em Gii → vi Emiv → iminor plagal ×6
- Bm Em Giii → vi Emv → inatural-minor cadence ×4
- Am D Gii → Vii → V Emiv → VII ×2
The move to watch is Am → Em, heard 6 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 Em, land on E, G, B — 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.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
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
The opening Em lays a solid floor for everything that follows. The chords that keep coming back are Em, Am, D, Bm; read them as vi–ii–V–iii in G or i–iv–VII–v in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. The final chord is Em; the ear comes to rest in Em.
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.
İrem Derici - Gel Demen de Yeterdi 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: Gökhan ŞahinMusic: Buray
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