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)
İrem Derici - Kaç şarkı Sonra Geleceksen Gel - Chord
Key Bb major – G minor Chords Gm, D7, Cm, Ebmaj7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm
Uyutur mu beni bu masallar
Cm
Gece gökyüzünde seni görmeden
D7
Az duymadık hep aynı yalanlar
Gm
Gelip de halimi bi görmeden
Söyle anlamaz mı
Cm
Taş yüreğin çatlamaz mı
D7
Bırak tavırlarını öyle gel
Gm
Kaç şarkı sonra geleceksen gel
Gm Ebmaj7
Deli talihim sabrediyor
D7
Bana gün yüzü gösterecek
Senin haline diyecek yok
Gm
Keyfin zirveden beter
Ebmaj7
Kıskanmadan söylenmeden
D7
Seni beklerim durma
Kaç şarkı sonra bana geleceksen gel
Gm
İsteklerinde sınır olmadan
Ebmaj7
Hissetmediklerini sormadan
Cm
Ten değmeden elime istemem
Görmeden geceyi beklemem
D7
Yorgun kalplere girmeden
Durgun ritimlere düşmeden
Cm D7
Gel sana hayran biri var
Gm
Uyutur mu beni bu masallar
Cm
Gece gökyüzünde seni görmeden
D7
Az duymadık hep aynı yalanlar
Gm
Gelip de halimi bi görmeden
Söyle anlamaz mı
Cm
Taş yüreğin çatlamaz mı
D7
Bırak tavırlarını öyle gel
Gm
Kaç şarkı sonra geleceksen gel
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Harmony analysis
İrem Derici – Kaç şarkı Sonra Geleceksen Gel: key and chord analysis
The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it both starts and finishes on Gm, Gm is heard 9 times while Bb never appears and the major V chord points straight at Gm. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 6× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 8× |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 3× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 9× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 9× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 6× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 8× |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 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). 4 different chords appear 26 times in total; 3 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm.
Chord movement
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×7
- Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×6
The move to watch is D7 → Gm, heard 7 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to Gm). 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
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 Gm; the ear learns where home is within a second. The backbone is Gm, D7, Cm, Ebmaj7 — vi–V7/vi–ii–IVmaj7 from the Bb side, i–V7–iv–VImaj7 from the Gm side. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. Ending on Gm, the song seals Gm as home.
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.
İrem Derici - Kaç şarkı Sonra Geleceksen Gel 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.
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Lyrics: TüzzünMusic: TüzzünArrangement: Mustafa Ceceli
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