Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Hakan Altun - Gelen Olmadı (Celil Nalçakan - Aydın Kara) - Chord
Key C major – A minor Chords E, F, Dm, Am Difficulty already in its easiest key
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Key: C | Am
Capo: 0
E Dm E
Günlerce bekledim boşuna onu
F E Am
Yokluğu getirdi benim sonumu
E
Bu da bana kaderin bir oyunu
F E Dm E
Beni güldürmeye gelen olmadı
E
Ağladım olmadı
F
Sızladım olmadı
E F
Yalvardım Allah'ıma
Dm E
Gelen olmadı
E F Dm E
Am E
Gençliğim sayende
F E
Sonsuz kabusa döndü
F
Allahım ne yaptım
E Dm
Benim hayatım söndü
Am
Tek dostum demiştim
E F
O da ansızın küstü
E F Dm E
Haykırdım yanıma gelen olmadı
E F Dm E
Bekledim yanıma gelen olmadı
Sana yüzme bilmeyen kuşlarını
Ellerinden yeryüzüne düşmekten yorgun düştüğüm düşlerimi
Sensiz hiçbirşeye yaramayan gülüşlerim bırakıyorum
Sana belki uğrarsın diye açılmış bir gönül kafesi
Bir yangının külünü yeniden yakacak hevesi
Başka birine sensiz yaşayamam demek için benden aldığın nefesi bırakıyorum
Sana affetmekten asla vazgeçemediğim suçlarımı
Seninle buluşmak için gidemediğim Beşiktaş maçlarını ve intiharımın ipuçlarını bırakıyorum
Ben sana ezberlediğim şiirin ardından kalan son iki cümle
Sana istikbalimden kadar uykusuz karanlık ve biçare bir gece
İsminden bile güzel gözlerine kurduğum iki hece
Yakışıklı prensin seni öpmesine kıyamadığım 6 cüce bırakıyorum
Ben sana düşen her yaprağa sela okuyan aşkların ve şarkının sözlerini
Belki ağlayasın gelirse diye Hülya Avşar'ın mavi gözlerini
Ben sana baharı bekleyen kumruların güzlerini bırakıyorum
Yani ben sana her şeyimi bırakıyorum
End of song Play again?
Hakan Altun - Gelen Olmadı (Celil Nalçakan - Aydın Kara) Tabs
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Harmony analysis
Hakan Altun – Gelen Olmadı (Celil Nalçakan - Aydın Kara): key and chord analysis
The song opens on E and ends on E. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
- #7 = G# (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 A minor side because Am is heard 3 times while C never appears and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 7× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 19× |
| IV | F | Subdominant — moves away from home | F · A · C | 10× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 3× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 3× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 7× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 19× |
| VI | F | Submediant — warm colour | F · A · C | 10× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 39 times in total; 3 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am.
Chord movement
- Dm E Cii → V/vi Amiv → Viv → V ×6
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×2
- Dm Am Cii → vi Amiv → iminor plagal ×1
The move to watch is Dm → E, heard 6 times. From the Am side it is iv → V (iv → V: the minor side's tension builder); from the C side it reads ii → V/vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over E, land on E, G#, B — 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- When E comes, swap the scale's G for G#: 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening E lays a solid floor for everything that follows. E, F, Dm, Am carry the song: V/vi–IV–ii–vi relative to C, V–VI–iv–i relative to Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → E (ii → V/vi in C, iv → V in Am): iv → V — the minor side's tension builder. The final chord is E; the ear comes to rest in C.
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.
Hakan Altun - Gelen Olmadı (Celil Nalçakan - Aydın Kara) 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: Hakan AltunMusic: Hakan Altun
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