Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Yiğit Mahzuni - Sevmem - Chord
Key Db major – Bb minor Chords Bbm, Fm, Gbmaj7, Ab Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm
Sevmem yeniden çağırsan gelmem
Gbmaj7
Yalnız kalırsan görmem
Ab
Senin kollarında ölemem
Yaşamam da artık
Bbm Fm
Giderim, sabah olmadan seni silerim
Gbmaj7
Yüzün gülmesin onu dilerim
Ab
Sırtımdan vurdun da hayallerimden vur göreyim
Bbm Fm Gbmaj7 Ab
Bbm
Kendime gelemiyorum
Fm Gbmaj7
Senden de artık sanırım gidebilirim
Ab
Bir bahane bulabilirim
Gözlerin buna müsait
Bbm
Ben bizi göremiyorum
Fm Gbmaj7
Nedense artık senden uzak gibiyim
Ab
Ben o eski ben değilim
Başardın inan senin emeğin
Bbm
Yana yana gençliğim
Fm
Şöyle bir baktı da geçti
Gbmaj7
En güzel yıllara seni seçti
Ab
Yaşandı ama koca bir hiçti
Pişman değilim ama
Bbm Fm
Sevmem yeniden çağırsan gelmem
Gbmaj7
Yalnız kalırsan görmem
Ab
Senin kollarında ölemem
Yaşamam da artık
Bbm Fm
Giderim, sabah olmadan seni silerim
Gbmaj7
Yüzün gülmesin onu dilerim
Ab
Sırtımdan vurdun da hayallerimden vur göreyim
End of song Play again?
Yiğit Mahzuni - Sevmem Tabs
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Harmony analysis
Yiğit Mahzuni – Sevmem: key and chord analysis
The song opens on Bbm and ends on Ab. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 8 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 8× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IVmaj7 | Gbmaj7 | Subdominant — moves away from home | Gb · Bb · Db · F | 8× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 8× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 8× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 8× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 8× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VImaj7 | Gbmaj7 | Submediant — warm colour | Gb · Bb · Db · F | 8× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 8× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 32 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
- Gbmaj7 Ab DbIVmaj7 → VIV → V BbmVImaj7 → VIIVI → VII ×8
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×7
The move to watch is Gbmaj7 → Ab, heard 8 times. From the Bbm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Bbm, land on Bb, Db, F — 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 Gbmaj7, land on Gb, Bb, Db — 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. The backbone is Bbm, Fm, Gbmaj7, Ab — vi–iii–IVmaj7–V from the Db side, i–v–VImaj7–VII from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gbmaj7 → Ab (IVmaj7 → V in Db, VImaj7 → VII in Bbm): VI → VII — the rising step that heads for the tonic. Ending on Ab, the song seals Db as home.
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.
Yiğit Mahzuni - Sevmem 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: Yiğit MahzuniMusic: Yiğit MahzuniArrangement: Serkan Balkan
Yiğit Mahzuni
Yiğit Mahzuni
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