Hande Yener - Krema - Chord

Key Bb major – G minor Chords Gm, F, Dm, Eb Easy key C

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Capo 0

Gm                F
 Bir diyarda hani rastlantı buyurur ya
    Dm
Masalın en zor yeri gelmiş
    Eb
Uyandıramamışım seni hala
      Gm
Şimdi söyle bu ne bu
        F
Bu masalın dibi tuttu
       Dm
Boş verdim öğütleri
       Eb
Öğütmekten başka ne ki
       Gm
Aşk acıtırmış yalan hepsi
          F
Yarı yolu varmış talan hepsi
            Dm
Cennetinden kovulan melek gibi
        Eb
Çok ağladıysan o da gitti

              Gm
Bunun adı var hüsran, ablası vicdan
        F
Kabul etmesi zor belkisi cüzdan
Dm
 Ne diyim her yeri drama
Eb
Çırpınca çırpınca oluyorsun krema

Gm                      F
Drama drama drama drama drama na na na
Dm                      Eb
Krema krema krema krema krema na na na

Gm  F  Dm  Eb

Gm             F
 O esnada hani mantıksız diyorsun ya
    Dm
Aşk tahtıravalliden inmiş
      Eb
Sen hala ne oturuyorsun orda
      Gm
Şimdi söyle bu ne bu
      F
Sürprizin dibi tuttu
    Dm
Kalenin bedenleri
     Eb
Koyverin gidenleri
       Gm
Aşk acısıymış yalan hepsi
         F
Aşk olsa bitmez yavan hepsi
           Dm
Oyuncağı kırılan bir çocuk gibi
         Eb
Çok zorladıysan o da gitti

              Gm
Bunun adı var devran, ablası evham
        F
Kabul etmesi zor belkisi pişman
Dm
 Ne diyim her yeri drama
Eb
Çırpınca çırpınca oluyorsun krema

Gm                      F
Drama drama drama drama drama na na na
Dm                      Eb
Krema krema krema krema krema na na na

End of song Play again?

Hande Yener - Krema Tabs

NotesX

Harmony analysis

Hande Yener – Krema: key and chord analysis

The song opens on Gm and ends on Eb. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 11 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
iii	Dm	Mediant — a tonic-family shade	D · F · A	11×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	11×
V	F	Dominant — strongest pull home	F · A · C	11×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	11×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	11×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
v	Dm	Minor dominant — soft pull	D · F · A	11×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	11×
VII	F	Subtonic — steps back to the tonic	F · A · C	11×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 44 times in total; 4 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

Eb Gm BbIV → vi GmVI → iVI → i ×10

The move to watch is Eb → Gm, heard 10 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — 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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, F, Dm, Eb — vi–V–iii–IV from the Bb side, i–VII–v–VI from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. The final chord is Eb; the ear comes to rest in Bb.

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.