Cem Karaca - İşte Geldik Gidiyoruz - Chord

Key F major – D minor Chords Am, Bb, Dm, C, F, G Easy key C (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am         Bb          Am         Bb 
Bir çiviyi çakar gibi, vura vura günlere 
C                    Dm        Dm 
Dört nala gidiyoruz, dört nala gidiyoruz 
C                   Bb       Bb     Am 
Bizi bekleyen yere, bizi bekleyen yere 
  
C                   Dm         
Halimize şükran mı, isyan mı etmeli 
F                       G            
Bütün ömür bir rüyaysa, uyanıp kalkmamalı mı 
Am                      G           
Bütün ömür bir rüyaysa, bütün ömür bir rüyaysa 
F                 Am 
Uyanıp kalkmamalı mı 
  
Dm                     Am            
İşte geldik gidiyoruz, bilinmez bir diyara 
Dm                    Bb                   Am 
Eskiden karpuz idik, şimdi döndük biz hıyara 
 
Am          Bb          Am        Bb 
Bir ayvayı dişler gibi, ısır ısır ömrümüzü 
C                       Dm             
Bir girdapta dönüyoruz, bir girdapta dönüyoruz 
C                   Bb               Am 
Yaşamadan günümüzü, yaşamadan günümüzü 
  
C                     Dm           
Deli gibi kutluyoruz, yılbaşı doğum günümüzü 
F                    G         
Doğuma da, ölüme de, çiçekler yolluyoruz 
Am                     G           
Sevince de, kedere de, doğuma da, ölüme de 
F                Am 
Çiçekler yolluyoruz

End of song Play again?

Cem Karaca - İşte Geldik Gidiyoruz Tabs

NotesX

Harmony analysis

Cem Karaca – İşte Geldik Gidiyoruz: key and chord analysis

The song opens on Am and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because Dm is heard 7 times against 4 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	4×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
V/V	G	Secondary dominant V/V — leads to Csecondary dominant	G · B · D	4×
iii	Am	Mediant — a tonic-family shade	A · C · E	12×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	8×
V	C	Dominant — strongest pull home	C · E · G	6×
vi	Dm	Relative minor — the melancholy side	D · F · A	7×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	7×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	4×
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
IV	G	Major IV — Dorian / melodic-minor colourmodal colour	G · B · D	4×
v	Am	Minor dominant — soft pull	A · C · E	12×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	8×
VII	C	Subtonic — steps back to the tonic	C · E · G	6×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 41 times in total; 5 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

C Dm FV → videceptive cadence DmVII → iAeolian arrival ×4
Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2

The move to watch is C → Dm, heard 4 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. The backbone is Am, Bb, Dm, C — iii–IV–vi–V from the F side, v–VI–i–VII from the Dm side. G adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. It closes on Am, letting the F 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.