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)
Yüzyüzeyken Konuşuruz - Gel Demedim ki - Chord
Key F major – D minor Chords F#, Bm, Em Easy key Eb (capo 2)
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Key: F | Dm
Capo: 0
Bm F# Em F# Bm F# Bm F# Ben sana benimle gel demedim ki Bm F# Em F# Bm F# Bm F# Ben sana benimle gel demedim ki Bm F# Bm F# Em F# Bm F# İstedim sadece hiçbir yere gitme Bm F# Bm F# Em F# Bm İstedim sadece hiçbir yere gitme Bm F# Aynı cümleyi kurup aynı şehre bakarken Em F# Bm Gideceksen şimdi git güneş doğarken Bm F# Aynı cümleyi kurup aynı şehre bakarken Em F# Bm Gideceksen şimdi git güneş doğarken Bm F# Em F# Bm F# Bm F# Ben senden benim olmanı istemedim ki Bm F# Em F# Bm F# Bm F# Ben senden beni sevmeni istemedim ki Bm F# Bm F# Em F# Bm F# İstedim sadece hiç kimseyi sevme Bm F# Bm F# Em F# Bm İstedim sadece hiç kimseyi sevme
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Harmony analysis
Yüzyüzeyken Konuşuruz – Gel Demedim ki: key and chord analysis
The song opens on Bm and ends on Bm. 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: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| bII | F# | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F# · A# · C# | 34× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| #iv | Bm | Chromatic colour chordoutside the key | B · D · F# | 28× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 10× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 10× |
| III | F | Relative major — the bright side | F · A · C | — |
| #III | F# | Chromatic colour chordoutside the key | F# · A# · C# | 34× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| 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 | — |
| #vi | Bm | Chromatic colour chordoutside the key | B · D · F# | 28× |
| 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). 3 different chords appear 72 times in total; 0 of them sit naturally inside the shared scale. F# is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- On F#, follow the chord's notes (F# · A# · C#) rather than the key's scale — it's a borrowed colour.
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 down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. The backbone is F#, Bm, Em — bII–#iv–vii from the F side, #III–#vi–ii from the Dm side. F# briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. Ending on Bm, the song seals F 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.
Yüzyüzeyken Konuşuruz - Gel Demedim ki 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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