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)
Yasemin Göksu - Gel Gönül Bu Aşkı Unut Sen de - Chord
Key F major – D minor Chords C, Am, Bb, Dm, F, Gm, E Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm C Bb Gm Am Yar benden uzaklarda sureti kalptedir bekler yad ederim Dm C Bb Gm Am Gönlüm hep tuzaklarda sever deyip yalana tamah ederim Bb C Dm C Sızlar içim ah hatıralar bende Bb C Dm C Bilmem niçin aklım bu ılık tende Dm C Gm Am Gel gönül bu aşkı unut sen de F E Am O yar bize neler etti Bb F Am Yaktı da sineyi viran etti F E Am Aşk ile çarpan bu kalbi Bb F Am Attı da yerlere talan etti Dm C Bb Gm Am Yüreğim titrer hala istemem o yar keder alsın ahımdan Dm C Bb Gm Am Yadigar kaldı bana acılı bir beste saba makamından Bb C Dm C Sızlar içim ah hatıralar bende Bb C Dm C Bilmem niçin aklım bu ılık tende Dm C Gm Am Gel gönül bu aşkı unut sen de F E Am O yar bize neler etti Bb F Am Yaktı da sineyi viran etti F E Am Aşk ile çarpan bu kalbi Bb F Am Attı da yerlere talan etti
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Yasemin Göksu - Gel Gönül Bu Aşkı Unut Sen de Tabs
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Harmony analysis
Yasemin Göksu – Gel Gönül Bu Aşkı Unut Sen de: key and chord analysis
The song opens on Dm and ends on Am. 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: to us the song feels closer to the D minor side because it opens on Dm and Dm is heard 10 times against 8 for F. 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 | 8× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 6× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 14× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 12× |
| V | C | Dominant — strongest pull home | C · E · G | 14× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 10× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| V/iii | E | Secondary dominant V/iii — leads to Amsecondary dominant | E · G# · B | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 10× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| V/v | E | Secondary dominant V/v — leads to Amsecondary dominant | E · G# · B | 4× |
| III | F | Relative major — the bright side | F · A · C | 8× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 6× |
| v | Am | Minor dominant — soft pull | A · C · E | 14× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 12× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 14× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 68 times in total; 6 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×6
- Bb F FIV → Iplagal cadence DmVI → III ×4
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×4
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×3
The move to watch is C → Dm, heard 6 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). 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 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.
- Over Bb, land on Bb, D, F — 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 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
Starting on Dm, the song gives away its key from the very first bar. C, Am, Bb, Dm carry the song: V–iii–IV–vi relative to F, VII–v–VI–i relative to Dm. E adds a moment of surprise: secondary dominant V/iii — leads to Am. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. The final chord is Am; the ear comes to rest in F.
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.
Yasemin Göksu - Gel Gönül Bu Aşkı Unut Sen de 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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