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)
Zeynep Bastık - Gitti Gideli - Chord
Key F major – D minor Chords Gm, Am, Dm, Bb, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Gm Am Dm
Vazgeç, direnme kalbim vazgeç, bekleme
Am Gm Dm
Sesini duyan yok boşa sitem etme
Am Gm Dm Am Gm Am
Unut onun gibi unut sen de, oooooo
Dm Gm Am
Kaç kez denedim, seni silmeyi bir kalemde
Dm Am Gm Dm
Ne çare, kaç kez öldüm o uykusuz gecelerde
Am Gm Dm Am Gm Am
Anılarla avundum senelerce, oooooo
Bb Dm
Hep başucumda hala
Gm C
Saklarım her sözü vurgun o satırları
Bb Am
Yok yırtıp atamadım hayır yakamadım
Gm
O mektubu bırakıp gitti gideli
Gm Am Dm Bb
Ne aradı ne sordu
Gm Am Dm Bb
Vefasız uyuttu beni
Gm Am Dm Bb
Buralarda zaman durdu
Gm Am Bb
Dönmedi unuttu beni
Gm Am Dm Bb
Gm Am Dm Bb
Gm Dm Dm
Dm Gm Am Dm
Bir sabah alıp seni benden gittin bu diyardan
Am Gm Dm
Hazin bir mektup yadigar kalan
Am Gm Dm Am Gm Am
Senden bana son hatıran, oooooo
Bb Dm
Hep başucumda hala
Gm C
Saklarım her sözü vurgun o satırları
Bb Am
Yok yırtıp atamadım hayır yakamadım
Gm
O mektubu bırakıp gitti gideli
Gm Am Dm Bb
Ne aradı ne sordu
Gm Am Dm Bb
Vefasız uyuttu beni
Gm Am Dm Bb
Buralarda zaman durdu
Gm Am Bb
Dönmedi unuttu beni
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Zeynep Bastık - Gitti Gideli Tabs
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Harmony analysis
Zeynep Bastık – Gitti Gideli: key and chord analysis
The song opens on Dm and ends on Bb. 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 24 times while F never appears. 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 27× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 27× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 14× |
| V | C | Dominant — strongest pull home | C · E · G | 2× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 24× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 24× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 27× |
| v | Am | Minor dominant — soft pull | A · C · E | 27× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 14× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 2× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 94 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×12
- Gm Dm Fii → vi Dmiv → iminor plagal ×7
- Bb Dm FIV → vi DmVI → iVI → i ×2
- Gm C Fii → Vii → V Dmiv → VII ×2
The move to watch is Am → Dm, heard 12 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. 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 Gm, land on G, Bb, D — 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 Dm, land on D, F, A — 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
The opening Dm lays a solid floor for everything that follows. Gm, Am, Dm, Bb carry the song: ii–iii–vi–IV relative to F, iv–v–i–VI relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. It closes on Bb, letting the F 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.
Zeynep Bastık - Gitti Gideli 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: TarkanMusic: Tarkan
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