Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Halil Sezai - Yanıma Gel - Chord
Key Ab major – F minor Chords Bm, Em, F#m, F#, Em7 Easy key F# (capo 2)
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Key: Ab | Fm
Capo: 0
Em Bm Em Bm
Em Bm
Aşk ateş olmuş şarabında
Em Bm
Saçların sarhoş
Em Bm
Aşk hüzün olmuş dudağında
Em Bm
Geceler sarhoş
F#m F# Em7
Yanıma gel, yanıma gel
Bm
Yanıma gel aman aman aman
Em Bm
Bir gece öyle bir gel ki
Em Bm
Dağıtarak saçlarını
Em Bm
Güzelsin öyle güzel
Em Bm
Bir eylül akşamında
F#m F# Em7
Yanıma gel, yanıma gel
Bm
Yanıma gel aman aman aman
Em Bm
Gözlerin tuzak şarkılara
Em Bm
Martılar sarhoş
Em Bm
Geceler bıçak yalnızlığa
Em Bm
Yüreğim sarhoş
F#m F# Em7
Yanıma gel, yanıma gel
Bm
Yanıma gel aman aman aman
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Halil Sezai - Yanıma Gel Tabs
NotesX
Harmony analysis
Halil Sezai – Yanıma Gel: key and chord analysis
The song opens on Em and ends on Bm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Ab major and F minor. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| biii | Bm | Chromatic colour chordoutside the key | B · D · F# | 17× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| III | C | Chromatic colour chordoutside the key | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| bvi | Em | Chromatic colour chordoutside the key | E · G · B | 14× |
| bvi7 | Em7 | Chromatic colour chordoutside the key | E · G · B · D | 3× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| bvii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 3× |
| bVII | F# | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F# · A# · C# | 3× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| bii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 3× |
| bII | F# | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F# · A# · C# | 3× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| #iv | Bm | Chromatic colour chordoutside the key | B · D · F# | 17× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
| #vii | Em | Chromatic colour chordoutside the key | E · G · B | 14× |
| #vii7 | Em7 | Chromatic colour chordoutside the key | E · G · B · D | 3× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 40 times in total; 0 of them sit naturally inside the shared scale. F# is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Bm, land on B, D, F# — 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- On F#, follow the chord's notes (F# · A# · C#) rather than the key's scale — it's a borrowed colour.
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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. Bm, Em, F#m, F# carry the song: biii–bvi–bvii–bVII relative to Ab, #iv–#vii–bii–bII relative to Fm. F# briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Ending on Bm, the song seals Ab 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.
Halil Sezai - Yanıma 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: Halil SezaiMusic: Halil SezaiArrangement: Göksun Çavdar
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