Skapova - Gidenler Var x Yahya Babuz - Chord

Key C major – A minor Chords Am, Em, Dm, C Difficulty already in its easiest key

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Capo 0

Am                  Em
Yanlış doğru beni ardında yordu
       Am                 Em
Çektik durduk geçmez bi zaman
Dm               Am
Nerde nerde şimdilerde nerde onlar
Dm               Am
Nerde nerde bu zaman
Dm                     Am
Nerden izler beni sana vermez dertler
         Dm                   Am
En iyisi git sen sen de nerdeysen
         C            Em
Gidenler var (kalanlardan)

Am                      Em
Dündü daha dündü bana göründü bi hevesle
Am                         Em
Öldüm daha da öldüm seni çekince bi nefeste
Dm                           Am
Güldün daha da güldüm beni severdin sevilince
Dm                       Am
Öldüm daha da öldüm gidince
         C            Em
Gidenler var (kalanlardan)

Am  Em  Am  Em  Dm  Am  C  Em

Am                       Em
Bittik gider olduk beter olduk bize noldu
Am                       Em
Durduk ve de güldük biz ama
Dm                     Am
Soğuk odalarda bir yanımız var yakınımızda
Dm                   Am
Durduk durunca biz zaman
         C            Em
Gidenler var (kalanlardan)

Am                      Em
Dündü daha dündü bana göründü bi hevesle
Am                         Em
Öldüm daha da öldüm seni çekince bi nefeste
Dm                           Am
Güldün daha da güldüm beni severdin sevilince
Dm                       Am
Öldüm daha da öldüm gidince
         C            Em
Gidenler var (kalanlardan)

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Skapova - Gidenler Var x Yahya Babuz Tabs

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Harmony analysis

Skapova – Gidenler Var x Yahya Babuz: key and chord analysis

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

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)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 21 times against 5 for C. 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	5×
ii	Dm	Supertonic — prepares the dominant	D · F · A	11×
iii	Em	Mediant — a tonic-family shade	E · G · B	15×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	—
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	21×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	21×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	5×
iv	Dm	Subdominant — moves away from home	D · F · A	11×
v	Em	Minor dominant — soft pull	E · G · B	15×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	—
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 52 times in total; 4 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

Dm Am Cii → vi Amiv → iminor plagal ×11
Em Am Ciii → vi Amv → inatural-minor cadence ×9

The move to watch is Dm → Am, heard 11 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → 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 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 Dm, 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 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

Starting on Am, the song gives away its key from the very first bar. The chords that keep coming back are Am, Em, Dm, C; read them as vi–iii–ii–I in C or i–v–iv–III in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. The final chord is Em; 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.