Tarkan - Gül Döktüm Yollarına - Chord

Key G major – E minor Chords G, C, Am, D, A, E Difficulty already in its easiest key

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Capo 0

G                     C
Gözlerinden okunuyor, beni seviyorsun
Am                          G
Sözlerin seni ele veriyor, sen de istiyorsun
                                C
Eninde sonunda benim olacaksin, hadi naz yapma
Am                              G
Sevgiyi aski bende bulacaksin, yabana atma
 
G               D   C                G
Biktirma usandirma, yeter beni kizdirma
C                G   D                  G
Gel artik kollarima, gül döktüm yollarina

                     G         
Gel gündüzle gece olalim       
                       Am          
Gel gökyüzünde yildiz olalim   
                               
Seninle mutlu yarinlara kosalim
D                   G                  
Gel beraber mesut olalim       
 
G                           C
Geçmiyor ki sensiz geceler, rüyalar yetmiyor
Am                             G
Isyan ediyor içimde sevgiler, sabrim tükeniyor
                                C
Eninde sonunda benim olacaksin, hadi naz yapma
Am                              G
Sevgiyi aski bende bulacaksin, yabana atma
 
A
Gel gündüzle gece olalim
               E
Gel gökyüzünde yildiz olalim
 
Seninle mutlu yarinlara kosalim
            A
Gel beraber mesut olalim

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Tarkan - Gül Döktüm Yollarına Tabs

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Harmony analysis

Tarkan – Gül Döktüm Yollarına: key and chord analysis

The song opens on G and ends on A. 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 G major side because it opens on G and G is heard 12 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

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	12×
ii	Am	Supertonic — prepares the dominant	A · C · E	5×
V/V	A	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E	2×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	6×
V	D	Dominant — strongest pull home	D · F# · A	3×
vi	Em	Relative minor — the melancholy side	E · G · B	—
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	1×
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	—
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	1×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	12×
iv	Am	Subdominant — moves away from home	A · C · E	5×
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	2×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	6×
VII	D	Subtonic — steps back to the tonic	D · F# · A	3×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 29 times in total; 4 of them sit naturally inside the shared scale. A, E act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

D G GV → Iauthentic cadence EmVII → III ×2
C G GIV → Iplagal cadence EmVI → III ×2
Am D Gii → Vii → V Emiv → VII ×1

The move to watch is D → G, heard 2 times. From the G side it reads V → I (authentic cadence: the strongest arrival home); from the Em side it is VII → III. 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 G, land on G, B, D — 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

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

The song's harmonic story

Starting on G, the song gives away its key from the very first bar. The chords that keep coming back are G, C, Am, D; read them as I–IV–ii–V in G or III–VI–iv–VII in Em. A adds a moment of surprise: secondary dominant V/V — leads to D. Keep an ear on D → G (V → I in G, VII → III in Em): authentic cadence — the strongest arrival home. The final chord is A; the ear comes to rest in G.

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.