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)
İrem Derici - Hadi Gel - Chord
Key F major – D minor Chords Gm, Bb, Am, Dm, F, C, A Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am Gm Am
Adını ilk duyduğumda kalbime bi isim koydum
F Bb C
Varlığın masalsı rüyalarımın tabirine uygun
Dm Bb C F
Kurduğum hayallerim, aşk dolu şu günlerim
Bb Gm F Gm Am Bb
Yarınlarım seninle olsun, inş al lah
Am Dm
İyi günde kötü günde, yarımım beni tümle
Gm F Gm Am Bb
Ömrüm ömründe can bulsun, inş al lah
Gm Am
Senden bir çocuğum olsun
Dm C
İçimde senden başka yer kalmadı galiba
Bb
Gülüşüne duruşuna canım feda
Gm
Ömrümce baksam sana sevabına
Bb Gm C A
Çıkalım mı bu hayatın ta en sonuna
Dm Bb C
Hadi gel gel gel gel gel gel yarim ol
Bb Gm
Kanadını aç aç aç aç aç aç meleğim ol
Dm Gm F
Ömrünü ver ver ver ver ver ver her şeyim ol
Gm Dm
Sensiz bir hayat düşünülemez...
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İrem Derici - Hadi Gel Tabs
NotesX
Harmony analysis
İrem Derici – Hadi Gel: key and chord analysis
The song opens on Am and ends on Dm. 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)
- #7 = C# (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 D minor side because it comes to rest on Dm, Dm is heard 6 times against 5 for F and the major V chord points straight at Dm. 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 | 5× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 11× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 6× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 1× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 9× |
| V | C | Dominant — strongest pull home | C · E · G | 5× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 6× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 5× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 11× |
| v | Am | Minor dominant — soft pull | A · C · E | 6× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 1× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 9× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 5× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 43 times in total; 6 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm.
Chord movement
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×3
- Gm Dm Fii → vi Dmiv → iminor plagal ×2
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
- C F FV → Iauthentic cadence DmVII → III ×1
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×1
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
The move to watch is Bb → C, heard 3 times. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → V (IV → V: the lift that builds tension before home). 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: 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 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 opening Am lays a solid floor for everything that follows. The backbone is Gm, Bb, Am, Dm — ii–IV–iii–vi from the F side, iv–VI–v–i from the Dm side. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. Ending on Dm, the song seals Dm 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 - Hadi 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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