Flört - Bir Tek Sen Gelmedin - Chord

Key C major – A minor Chords Am, Dm, E, Em, B7, F Difficulty already in its easiest key

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Capo 0

Am  Dm  Am  Em

Am
Yol aldık, beraber rüzgarla
                      Dm
Bir tek benim adım kaldı
                      Am
Güzel bir gün bekledim, bugün için
Em                      Am   E
 Onu da bana sen çok gördün

Am
Geriye döndüm, olduğum yerde
                     Dm
Sular bile döndü geriye (mecazen, mecazen)
                     Am
Mutlu olduğum günler de oldu
B7                      E
 O zaman yanımda sen vardın

Dm                        Am    F
 Bir tek sen gelmedin yanıma neden
Dm          E           Am
 Yoksa beni hiç mi sevmedin

Am  Dm  Am  Em

Am
Affetmesen de fark etmez
                      Dm
Ben çoktan affettim seni
                  Am
Benimki bir beklenti değil
B7                    E
 Gökyüzü mavidir değişmez
 
Dm                        Am    F
 Bir tek sen gelmedin yanıma neden
Dm          E           Am
 Yoksa beni hiç mi sevmedin

End of song Play again?

Flört - Bir Tek Sen Gelmedin Tabs

NotesX

Harmony analysis

Flört – Bir Tek Sen Gelmedin: key and chord analysis

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

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because it both starts and finishes on Am, Am is heard 15 times while C never appears and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	9×
iii	Em	Mediant — a tonic-family shade	E · G · B	3×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	5×
IV	F	Subdominant — moves away from home	F · A · C	2×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	15×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
V7/iii	B7	Secondary dominant V/iii — leads to Emsecondary dominant	B · D# · F# · A	2×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	15×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
V7/v	B7	Secondary dominant V/v — leads to Emsecondary dominant	B · D# · F# · A	2×
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	9×
v	Em	Minor dominant — soft pull	E · G · B	3×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	5×
VI	F	Submediant — warm colour	F · A · C	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 36 times in total; 4 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. B7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Dm Am Cii → vi Amiv → iminor plagal ×7
E Am CV/vi → vi AmV → iharmonic-minor cadence ×3
Em Am Ciii → vi Amv → inatural-minor cadence ×3
B7 E CV7/iii → V/visecondary resolution AmV7/v → V ×2
Dm E Cii → V/vi Amiv → Viv → V ×2

The move to watch is Dm → Am, heard 7 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. The chords that keep coming back are Am, Dm, E, Em; read them as vi–ii–V/vi–iii in C or i–iv–V–v in Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. Ending on Am, the song seals Am 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.