Gökhan Tepe - Gelsen de Anlatsam - Chord

Key Bb major – G minor Chords Dm7, Cm7, Ebmaj7, Eb, Gm7, G7 Easy key C

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Capo 0

Dm7  Dm7  Cm7  Cm7  Ebmaj7  Cm7  Dm7  Ebmaj7

Ebmaj7       Dm7  Ebmaj7      Dm7
Sol yanım söndü,  yanmıyor artık 
Ebmaj7         Dm7        Cm7       Dm7
Bayıldığım aşktan şehir zifiri karanlık 
Ebmaj7      Dm7     Ebmaj7          Dm7
Kayboldu herkes ne isim ne de bir adres 
Ebmaj7            Dm7         Cm7       Dm7
Fakir bir hasret elimde şimdi senden emanet 

       Cm7                    Dm7
Oysa serin dallarımda yeşillerin vardı 
      Cm7           Eb              Dm7
İklim hep bahardı bazen yağmur da yağardı 
Gm7                       Dm7
Tüm bunlar sanki aylar yıllarca önceydi 
   Cm7                                Ebmaj7
Gelsen de anlatsam sana öyleydi böyleydi 

      Dm7                        Cm7
Şimdi hangi cehennemi cennet yapıyorsun 
      Eb            Cm7          Dm7
Hangi kurak topraklara güller ekiyorsun 
                        G7      Cm7
Her kimle ve neredeysen dön ne olursun 
Eb               Cm7          Dm7
Bıraktığın bu yerde çok özleniyorsun

Ebmaj7       Dm7  Ebmaj7      Dm7
Sol yanım söndü,  yanmıyor artık 
Ebmaj7         Dm7        Cm7       Dm7
Bayıldığım aşktan şehir zifiri karanlık

End of song Play again?

Gökhan Tepe - Gelsen de Anlatsam Tabs

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Harmony analysis

Gökhan Tepe – Gelsen de Anlatsam: key and chord analysis

The song opens on Dm7 and ends on Dm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

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: to us the song feels closer to the G minor side because Gm is heard 1 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	13×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	21×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	12×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	3×
V	F	Dominant — strongest pull home	F · A · C	—
vi7	Gm7	Relative minor — the melancholy side	G · Bb · D · F	1×
V7/ii	G7	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D · F	1×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i7	Gm7	Tonic — home	G · Bb · D · F	1×
V7/iv	G7	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D · F	1×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	13×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	21×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VImaj7	Ebmaj7	Submediant — warm colour	Eb · G · Bb · D	12×
VI	Eb	Submediant — warm colour	Eb · G · Bb	3×
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). 6 different chords appear 51 times in total; 5 of them sit naturally inside the shared scale. G7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×1
G7 Cm7 BbV7/ii → ii7secondary resolution GmV7/iv → iv7 ×1

The move to watch is Dm7 → Gm7, heard once. From the Gm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → vi7. 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Ebmaj7, land on Eb, G, Bb — 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

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Dm7; the ear learns where home is within a second. The backbone is Dm7, Cm7, Ebmaj7, Eb — iii7–ii7–IVmaj7–IV from the Bb side, v7–iv7–VImaj7–VI from the Gm side. G7 adds a moment of surprise: secondary dominant V/ii — leads to Cm. Keep an ear on Dm7 → Gm7 (iii7 → vi7 in Bb, v7 → i7 in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Dm7; the ear comes to rest in Bb.

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.