Mela Bedel - Yolda Bıraktın - Chord

Key G major – E minor Chords Cmaj7, Bm7, Am7, Gmaj7, D Easy key C (capo 7)

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Capo 0

Cmaj7  Bm7  Cmaj7  Bm7
x2

Cmaj7
Doğdum uyandım
                        Bm7
Ne manası vardı bu dünyanın?
    Cmaj7                                 Bm7
Bi' yarası varmış ki gocundu kalktı yaralarım

       Cmaj7
Birden sen geldin
  Am7 
Tamam dedim
         Bm7         Am7
Buymuş sebebim ve gittin

Am7           Cmaj7
Zaten çok şey vardı
       Bm7
Sen de aldın götürdün yarısını
      Am7      Cmaj7
Sonra bak ne kaldı
          Bm7
Boş bi' kelam, yok bi' davam

           Gmaj7      Am7
Yolda bıraktın, artık gelme
           Gmaj7      Am7
Yolda bıraktın, artık gelme
           D
Yolda bıraktın
      Am7                Bm7
Çok severken ben de bıraktım 
      Cmaj7
Artık gelme

Cmaj7  Bm7  Cmaj7  Bm7

      Am7
Şimdi dönsen gelip desen
     Cmaj7
Benimsin sen
                Bm7
Gönlüm hemen inanır ki

Sanıyorsun hala
     Am7
Onca dertten geçmemişten
        Cmaj7
Yokluğu hiç bilmemişten
      Bm7
Hayır gelir mi? 

Am7           Cmaj7
Zaten çok şey vardı
       Bm7
Sen de aldın götürdün yarısını
      Am7      Cmaj7
Sonra bak ne kaldı
          Bm7
Boş bi' kelam, yok bi' davam 

           Gmaj7      Am7
Yolda bıraktın, artık gelme
           Gmaj7      Am7
Yolda bıraktın, artık gelme
           D
Yolda bıraktın
      Am7                Bm7
Çok severken ben de bıraktım 
       Cmaj7
Artık gelme

End of song Play again?

Mela Bedel - Yolda Bıraktın Tabs

NotesX

Harmony analysis

Mela Bedel – Yolda Bıraktın: key and chord analysis

The song opens on Cmaj7 and ends on Cmaj7. Its chords belong to both G major and Em, so every chord below is read both ways.

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F# (leading tone, pulls home)
4 = C (the note that leans on the 3rd)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the G major side because G is heard 4 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
Imaj7	Gmaj7	Tonic — home	G · B · D · F#	4×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	14×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	15×
III	B	Chromatic colour chordoutside the key	B · D# · F#	—
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	15×
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	—
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	—
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
IIImaj7	Gmaj7	Relative major — the bright side	G · B · D · F#	4×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	14×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	15×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	15×
VII	D	Subtonic — steps back to the tonic	D · F# · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 50 times in total; 5 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

Am7 D Gii7 → Vii → V Emiv7 → VII ×2

The move to watch is Am7 → D, heard 2 times. From the G side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the Em side it is iv7 → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — 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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Cmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Cmaj7, Bm7, Am7, Gmaj7; read them as IVmaj7–iii7–ii7–Imaj7 in G or VImaj7–v7–iv7–IIImaj7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → D (ii7 → V in G, iv7 → VII in Em): ii → V — the classic preparation of the dominant. The final chord is Cmaj7; the ear comes to rest in G.

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.