Sezen Aksu - Gözlerine Göz Değmiş - Chord

Key F major – D minor Chords F, Gm, C, Bb, Am, D, Dm, Cm … Easy key G

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Capo 0

F                 Gm     F
Ah, gözlerine göz değmiş belli
               Bb    F
Dudaklarında günah tadı var
         Bb      C       F
Suçluluk kokusu sinmiş tenine
Gm       F    C       F
Ben yine aynı hep affedici

Dm      Am      Gm       Am
Bu saltanat, bu hâller geçici
C       Gm      Bb       F
Bu taze ten, bu demler geçici

F      Am       Cm       F
İnsafa gel, bir bak şu garibe
Eb      F         C       F
Gafletinden uyan, eller gidici

Bb         Gm     Am        D
Ben beni bilirim, gel gör anlatamam
Gm             C         F
Gir bak içerde hem bahar hem güz
Bb      Gm     Am      D
Dünya malında, komşu bağında
Gm               C       F
Billa gözüm yok, dururum dümdüz

F        Dm       Bb      Gm
Ah, yollarına kul kurban olurum
C        Gm    C         F
Yüz çevirme benden, mahvolurum
        Bb        Gm         F
Allah aşkına sev, yoksa ben ölürüm
Gm       F     C        F
Kalbim nöbette bak gece gündüz

Bb         Gm     Am        D
Ben beni bilirim, gel gör anlatamam
Gm             C         F
Gir bak içerde hem bahar hem güz
Bb      Gm     Am      D
Dünya malında, komşu bağında
Gm               C       F
Billa gözüm yok, dururum dümdüz

End of song Play again?

Sezen Aksu - Gözlerine Göz Değmiş Tabs

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Harmony analysis

Sezen Aksu – Gözlerine Göz Değmiş: key and chord analysis

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

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)

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 F major side because it both starts and finishes on F and F is heard 20 times against 2 for Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.

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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	20×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	16×
iii	Am	Mediant — a tonic-family shade	A · C · E	7×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	9×
V	C	Dominant — strongest pull home	C · E · G	11×
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
vi	Dm	Relative minor — the melancholy side	D · F · A	2×
V/ii	D	Secondary dominant V/ii — leads to Gmsecondary dominant	D · F# · A	4×
bVII	Eb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Eb · G · Bb	1×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	2×
V/iv	D	Secondary dominant V/iv — leads to Gmsecondary dominant	D · F# · A	4×
bII	Eb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Eb · G · Bb	1×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	20×
iv	Gm	Subdominant — moves away from home	G · Bb · D	16×
v	Am	Minor dominant — soft pull	A · C · E	7×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	9×
VII	C	Subtonic — steps back to the tonic	C · E · G	11×
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×

Analysis

The key pair is F major and its relative D minor (1 flat). 9 different chords appear 71 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key. Eb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C F FV → Iauthentic cadence DmVII → III ×9
Gm C Fii → Vii → V Dmiv → VII ×6
Bb F FIV → Iplagal cadence DmVI → III ×2
Bb C FIV → VIV → V DmVI → VIIVI → VII ×1
Eb F FbVII → IbVII → I DmbII → III ×1

The move to watch is C → F, heard 9 times. From the F side it reads V → I (authentic cadence: the strongest arrival home); from the Dm side it is VII → III. 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, 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.
On Eb, follow the chord's notes (Eb · G · Bb) rather than the key's scale — it's a borrowed colour.

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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening F lays a solid floor for everything that follows. The backbone is F, Gm, C, Bb — I–ii–V–IV from the F side, III–iv–VII–VI from the Dm side. D adds a moment of surprise: secondary dominant V/ii — leads to Gm. Keep an ear on C → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. The final chord is F; 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.