Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Emre Yıldırım - Gelmesen de Beklerim - Chord
Key Ab major – F minor Chords Eb, Db, Fm, Ab, Bbm, Cm, C Easy key C
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Key: Ab | Fm
Capo: 0
Fm Eb Db Ab Bbm Ab Eb C Fm Eb Dursun geceler ah olmasın sabahlar Cm Db Gözlerim senle açılmıyorsa Fm Eb Yansın yeryüzü, ters dönsün gökyüzü Cm Db Umrumda değil bu gece Bbm Db Fm Eb Belki az sevdik belki yalandı, belki de bu bitirdi bizi ah Fm Eb Db Ab Yalanmış, değilmiş, ne farkeder ki senin beni sevmen Bbm Ab Eb Db Cm Onca düş, onca hayal sebepsiz de severim Fm Eb Db Ab Göz görmeyince gönül, katlanmıyor artık Bbm Ab Eb Db Cm Ne kadar acı, bilemezsin ama gelmesen de beklerim
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Emre Yıldırım - Gelmesen de Beklerim Tabs
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Harmony analysis
Emre Yıldırım – Gelmesen de Beklerim: key and chord analysis
The song opens on Fm and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
- #7 = E (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 F minor side because it opens on Fm and the major V chord points straight at Fm. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | 6× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 4× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 4× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 1× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 8× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 9× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 6× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 6× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 6× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 4× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 4× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | 1× |
| VI | Db | Submediant — warm colour | Db · F · Ab | 8× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 9× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 38 times in total; 6 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C is V/vi, a secondary dominant heading for Fm.
Chord movement
- Db Ab AbIV → Iplagal cadence FmVI → III ×3
- Db Fm AbIV → vi FmVI → iVI → i ×2
- C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×1
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×1
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1
The move to watch is Db → Ab, heard 3 times. From the Fm side it is VI → III; from the Ab side it reads IV → I (plagal cadence: the soft 'amen' ending). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- When C comes, swap the scale's Eb for E: 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. The chords that keep coming back are Eb, Db, Fm, Ab; read them as V–IV–vi–I in Ab or VII–VI–i–III in Fm. C is the interesting twist: in Ab it is a chromatic chord (V/vi), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Db → Ab (IV → I in Ab, VI → III in Fm): plagal cadence — the soft 'amen' ending. It closes on Cm, letting the Ab 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.
Emre Yıldırım - Gelmesen de Beklerim 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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Lyrics: Emre YıldırımMusic: Emre YıldırımArrangement: Ramazan Çiçek
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