Edip Akbayram - Seni Seven Öldü (Haberin Varmı) - Chord

Key Eb major – C minor Chords Cm, Fm, Bb, Eb Easy key C (capo 3)

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Capo 0

Bb  Cm  Eb  Fm  Bb  Cm  Eb  Fm

Fm  Cm  Fm  Eb  Cm
Fm  Cm  Bb  Cm  Fm  Cm  Bb  Cm


Fm          Cm        Fm         Cm
 Ay karanlık gecelerim gündüz olmuyor
Fm           Cm         Bb         Cm
 Dalında solmuş güllerim filiz vermiyor
Fm         Cm       Fm         Cm
 Elim kolum işe güce varıp gitmiyor
Fm         Cm           Bb          Cm
 Gözlerimde ferim sönmüş haberin var mı

Fm         Cm   Fm         Cm
 Haberin var mı, haberin var mı
Fm         Cm         Bb          Cm
 Seni seven öldü zalım haberin var mı
 
Fm           Cm          Fm           Cm
 Gelir günler gelir gülüm yaz bahara erer
Fm          Cm        Bb       Cm
 Ay karanlık gecelerim umuda döner
Fm         Cm         Fm              Cm
 Seni seven deli yürek bir gün yine sever
Fm         Cm          Bb          Cm
 Bu şarkıyı sana yollar haberin var mı
 
Fm         Cm   Fm         Cm
 Haberin var mı, haberin var mı
Fm         Cm         Bb          Cm
 Seni seven öldü zalım haberin var mı

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Edip Akbayram - Seni Seven Öldü (Haberin Varmı) Tabs

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Harmony analysis

Edip Akbayram – Seni Seven Öldü (Haberin Varmı) : key and chord analysis

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

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it comes to rest on Cm and Cm is heard 32 times against 3 for Eb. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	3×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	24×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	10×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	32×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	32×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	3×
iv	Fm	Subdominant — moves away from home	F · Ab · C	24×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	10×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 69 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

Fm Cm Ebii → vi Cmiv → iminor plagal ×21
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×10
Fm Bb Ebii → Vii → V Cmiv → VII ×1

The move to watch is Fm → Cm, heard 21 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Cm, land on C, Eb, G — 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.
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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

Starting on Bb, the song gives away its key from the very first bar. The chords that keep coming back are Cm, Fm, Bb, Eb; read them as vi–ii–V–I in Eb or i–iv–VII–III in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. The final chord is Cm; the ear comes to rest in Cm.

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.