Güneş - Haydi Gel Benimle Ol - Chord

Key F major – D minor Chords Am, Dm, Gm, Cm Easy key C (capo 5)

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Capo 0

      Dm
Haydi gel benimle ol
   Am 
Oturup yıldızlardan
    Gm                   Am
Bakalım dünyadaki neslimize
    Dm                Am
Ordaki sevgililer, özenip birer birer
     Gm                 Am
Gün olur erişirler ikimize

Dm              Gm         Am
  Oh, oh, yıldızlar, yıldızlar

           Am
Hadi sende yaz, vcarsa bi itirazın
            Am
Parlıcak bu yaz, gökteki aşk yıldızım
          Dm               Am
Benimle sona, sür sonuna kadar
               Gm                    Am
Sür çok büyük olay bu, geri durmak kolay mı

          Dm              Am
İlk adımı atsam, sürse sonsuza kadar
         Gm
Bu yazı unutmam
         Am
Mümkün değil yıldızlar yanımda
      Dm                  Am
Hepsi parlak, şansım bu gece uyumaz
Gm                     Am        Dm
Baktım da etrafa sen gibi yok burda

      Dm
Haydi gel benimle ol
   Am 
Oturup yıldızlardan
    Gm                   Am
Bakalım dünyadaki neslimize
    Dm                Am
Ordaki sevgililer, özenip birer birer
     Gm                 Am
Gün olur erişirler ikimize

           Dm
Uzat elini sende
                  Cm
Gördüm farklı bir şey var
             Gm
Bu kalabalık yerde
                 Dm
Tek kaldım kollarında

Yıldızlar bize söyler
            Am
Dinle ay ışığında
           Gm
Çok büyük olay bu
              Dm
Geri durmak kolay mı

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Güneş - Haydi Gel Benimle Ol Tabs

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Harmony analysis

Güneş – Haydi Gel Benimle Ol: key and chord analysis

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

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it both starts and finishes on Dm and Dm is heard 12 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	10×
iii	Am	Mediant — a tonic-family shade	A · C · E	18×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	—
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
vi	Dm	Relative minor — the melancholy side	D · F · A	12×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	12×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	10×
v	Am	Minor dominant — soft pull	A · C · E	18×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 41 times in total; 3 of them sit naturally inside the shared scale. Cm step outside the scale as colour chords.

Chord movement

Am Dm Fiii → vi Dmv → inatural-minor cadence ×8
Gm Dm Fii → vi Dmiv → iminor plagal ×2

The move to watch is Am → Dm, heard 8 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Am, land on A, C, E — 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.
Over Gm, land on G, Bb, D — 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Am, Dm, Gm, Cm; read them as iii–vi–ii–v in F or v–i–iv–vii in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Dm; the ear comes to rest in Dm.

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.