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)
Cem Adrian - Herkes Gider mi (Aylin Aslım) - Chord
Key F major – D minor Chords Gm, Dm Easy key G
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Key: F | Dm
Capo: 0
Dm
Sessiz bir gece, yorgun adımlarım
Gm
Hiç haberi yok gibi, ıslak kaldırımların
Dm
Kimse görmüyor mu, kimse duymuyor mu?
Gm
Durup önünde kalbinin, kimse durdurmuyor mu?
Dm
Herkes gider mi, herkes gider mi?
Gm
Söyle bana küçük adam, her şey biter mi?
Dm
Çok erken değil mi, erken değil mi?
Gm
Söyle bana küçük adam, herkes gider mi?
Dm
Elinde cennetin kayıp haritası
Gm
Kalbinde hazineler, yüzünde anahtarı
Dm
Kimse görmüyor, kimse bilmiyor
Gm
Ve sen hâlâ üşüyorsun
Gm
Hâlâ yalnız mısın, sadece özgür
Dm
Peki mutsuz, sadece alışmış
Gm
Peki ya aşık, sadece eksik.
Dm
Peki ya sen, hâlâ bekliyor musun?
Gm
Beklemek, şimdi hiç duymayan birine,
Dünyanın en güzel şarkısını söylemek kadar anlamsız.
Dm
Peki ya umut,
Gm
Umut, şimdi hiç görmeyen birine,
Gökkuşağını anlatmak kadar zor ve imkansız
Dm
Yağmur diner mi, yağmur diner mi?
Gm
Söyle bana küçük adam, söyle bana küçük adam
Dm
Herkes gider mi herkes gider mi?
Gm
Söyle bana küçük adam, söyle bana küçük adam
Dm
Çok erken değil mi, erken değil mi?
Gm
Söyle bana küçük adam, söyle bana küçük adam
Dm
Yağmur diner mi, yağmur diner mi?
Gm
Söyle bana küçük adam, söyle bana küçük adam
End of song Play again?
Cem Adrian - Herkes Gider mi (Aylin Aslım) Tabs
NotesX
Harmony analysis
Cem Adrian – Herkes Gider mi (Aylin Aslım): key and chord analysis
The song opens on Dm and ends on Gm. Its chords belong to both F major and Dm, so every chord below is read both ways.
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 it opens on Dm and Dm is heard 13 times while F never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 14× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 13× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 13× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 14× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 2 different chords appear 27 times in total; 2 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
- Gm Dm Fii → vi Dmiv → iminor plagal ×12
The move to watch is Gm → Dm, heard 12 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → vi. 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 Gm, land on G, Bb, D — 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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The opening Dm lays a solid floor for everything that follows. The chords that keep coming back are Gm, Dm; read them as ii–vi in F or iv–i in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. It closes on Gm, 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.
Cem Adrian - Herkes Gider mi (Aylin Aslım) 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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