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)
Mehmet Elmas - Gidene Yakıyorum - Chord
Key C major – A minor Chords Em7, Am7, Dm7 Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: C | Am
Capo: 0
Am7 Em7 Dm7 Em7
Am7 Em7
Gidene yakıyorum sigaramdan bir dal daha
Dm7
Ateş düştüğü yeri yakıyor ama
Em7
Bilemem artık senden bir şans daha
Am7
Düştüğün zaman ben olmayacağım yanında
Am7
Hadi şimdi beni ara dur, bulur musun hayır asla
Em7
Kapattım o sayfayı çoktan, açar mıyım tekrar asla
Dm7
Direndim acılarına, merhem oldum yaralarına
Em7
Layık değildin sevgime, o yüzden çizgi çektim adına
Am7
Dünde kalanın ardından
Em7
Üzülme boş yere hiç aldırma
Dm7
Seven sevdiğini kandırmaz
Em7
Unut gideni daha fazla sarsılma
Am7
Gidene yakıyorum sigaramdan bir dal daha
Em7
Ateş düştüğü yeri yakıyor ama
Dm7
Bilemem artık senden bir şans daha
Em7
Düştüğün zaman ben olmayacağım yanında
Am7
Gidene yakıyorum sigaramdan bir dal daha
Em7
Ateş düştüğü yeri yakıyor ama
Dm7
Bilemem artık senden bir şans daha
Em7
Düştüğün zaman ben olmayacağım yanında
End of song Play again?
Mehmet Elmas - Gidene Yakıyorum Tabs
NotesX
Harmony analysis
Mehmet Elmas – Gidene Yakıyorum: key and chord analysis
The song opens on Am7 and ends on Em7. Its chords belong to both C major and Am, so every chord below is read both ways.
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 7 times while C never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 6× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 12× |
| 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 | — |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 7× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 7× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 6× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 12× |
| 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). 3 different chords appear 25 times in total; 3 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
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×5
The move to watch is Em7 → Am7, heard 5 times. From the Am side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi7. 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 Em7, land on E, G, B — 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.
- Over Dm7, 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 Am7, the song gives away its key from the very first bar. Em7, Am7, Dm7 carry the song: iii7–vi7–ii7 relative to C, v7–i7–iv7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am7 (iii7 → vi7 in C, v7 → i7 in Am): natural-minor cadence — gentle, modal arrival. It closes on Em7, letting the C side have the last word.
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.
Mehmet Elmas - Gidene Yakıyorum 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Mehmet ElmasMusic: Mehmet ElmasArrangement: İlkan Günüç
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.