Gripin - Dalgalandim da Duruldum - Chord

Key G major – E minor Chords Bm, C, Am, Em, G, D, C#m Easy key C (capo 7)

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Capo 0

Bm                 Am   C    Bm
Ne olursun güzelim sevsen beni 
     Am      G       Em      G
Yar deyipte sinene sarsan beni 

Em          Bm    Em   D   Em
Bir gün öldüreceksin 
C                    Am    C   D    Bm
En sonunda sen beni, en sonunda sen beni 

Am   Bm   C   G  

Em
Dalgalandım da duruldum 
D
Koştum ardından yoruldum 
C#m                    C
Binlerce güzel sevdim de, sevdim de 
Am  Bm        C       Am   C         Bm  
En son sana vuruldum, en son sana vuruldum 

Bm                       Am   C    Bm
Yaktın yaktın kül ettin erittin beni 
    Am    G        Em       G
Mecnuna döndürdün mahvettin beni 
Em           Bm   Em  D  Em
Aşık gibi sevmesen 
C                     Am    C     D    Bm
Kardeş gibi sev beni, kardeş gibi sev beni

End of song Play again?

Gripin - Dalgalandim da Duruldum Tabs

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Harmony analysis

Gripin – Dalgalandim da Duruldum: key and chord analysis

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

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because Em is heard 9 times against 5 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	5×
ii	Am	Supertonic — prepares the dominant	A · C · E	9×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	11×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	10×
#iv	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×
V	D	Dominant — strongest pull home	D · F# · A	5×
vi	Em	Relative minor — the melancholy side	E · G · B	9×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	9×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	5×
iv	Am	Subdominant — moves away from home	A · C · E	9×
v	Bm	Minor dominant — soft pull	B · D · F#	11×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	10×
#vi	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×
VII	D	Subtonic — steps back to the tonic	D · F# · A	5×

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 50 times in total; 6 of them sit naturally inside the shared scale. C#m step outside the scale as colour chords.

Chord movement

D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
Bm Em Giii → vi Emv → inatural-minor cadence ×2
C D GIV → VIV → V EmVI → VIIVI → VII ×2
C G GIV → Iplagal cadence EmVI → III ×1

The move to watch is D → Em, heard 2 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. Bm, C, Am, Em carry the song: iii–IV–ii–vi relative to G, v–VI–iv–i relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. It closes on Bm, letting the G 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.