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)
Serdar Ortaç - Gitme - Chord
Key Bb major – G minor Chords Dm, Eb, C, Am, Gm, Bb, A Easy key F (capo 5)
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Key: Bb | Gm
Capo: 0
Dm
Elimde olsa kalbine taht kuracaktım
C
Vakit gelince ben bu buhranlı cağı atlatıp
Am Dm
Sana esir olacaktım
Dm
Düşünüyorduk seninle aynı şeyleri
C
Zaman gelince unutmuyorduk eski günleri
Am Dm
Bu kalpte tek olacaktık
Gm Bb
Nasıl güzeldi elini tutmak
Dm A
Dudaklarında mühür olmak
Dm
N'olur gitme
Eb Dm
Ufak tefek şeylere kızıp gitme
Eb Dm
Ne yapmadım ki sen çok istedin de
Eb Dm Eb
Yavaş yavaş kabul edelim senin ilacın benim
Dm
N'olur gitme
End of song Play again?
Serdar Ortaç - Gitme Tabs
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Harmony analysis
Serdar Ortaç – Gitme: key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | 1× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| II | C | Chromatic colour chordoutside the key | C · E · G | 2× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 10× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 4× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 1× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 2× |
| V/iii | A | Secondary dominant V/iii — leads to Dmsecondary dominant | A · C# · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 1× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| ii | Am | Chromatic colour chordoutside the key | A · C · E | 2× |
| V/v | A | Secondary dominant V/v — leads to Dmsecondary dominant | A · C# · E | 1× |
| III | Bb | Relative major — the bright side | Bb · D · F | 1× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| IV | C | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 2× |
| v | Dm | Minor dominant — soft pull | D · F · A | 10× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 4× |
| 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). 7 different chords appear 21 times in total; 4 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
The move to watch is Dm → Gm, heard once. From the Bb side it reads iii → vi; from the Gm side it is v → i (natural-minor cadence: gentle, modal arrival). 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — 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 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. Dm, Eb, C, Am carry the song: iii–IV–II–vii relative to Bb, v–VI–IV–ii relative to Gm. A adds a moment of surprise: secondary dominant V/iii — leads to Dm. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. Ending on Dm, the song seals Bb as home.
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.
Serdar Ortaç - Gitme 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: Serdar OrtaçMusic: William Enrique L. GuillermoArrangement: Volga Tamöz
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