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)
Sinan Akçıl - Sefil (Semra San) - Chord
Key Bb major – G minor Chords Gm, F, Dm7, Cm7, Ebmaj7, Dm Easy key C
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Key: Bb | Gm
Capo: 0
Gm Gm F F Gm Dm7 Suç sendemi bendemi diye sorma Bırak cehaleti Ebmaj7 Cm7 Kim affeder hadi bulup getir Dm7 Böyle bir ihaneti Gm Ebmaj7 Üzüldüğüm geçen yıllar değil F Dm7 Kiminle harcayıp geçirdiğim Ebmaj7 Cm7 Uzatma hiç duyulmasın yeter F Cm7 Dm Daha da fazla bu rezilliği Gm Konuşma karşıma geçip sefil sefil Dm7 Hayatımı bırak hemen çekil çekil Ebmaj7 Cm7 Yaşattığın acıların tadı sana F Cm7 Dm7 Yavaş yavaş zehir gibi gelir sefil
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Sinan Akçıl - Sefil (Semra San) Tabs
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Harmony analysis
Sinan Akçıl – Sefil (Semra San): key and chord analysis
The song opens on Gm and ends on Dm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
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 5 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 5× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 5× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 1× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 4× |
| V | F | Dominant — strongest pull home | F · A · C | 5× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 5× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 5× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 5× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 5× |
| v | Dm | Minor dominant — soft pull | D · F · A | 1× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 4× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 5× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 25 times in total; 6 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
- Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×2
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×1
- Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×1
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
The move to watch is Cm7 → F, heard 2 times. From the Gm side it is iv7 → VII; from the Bb side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 Dm7, 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
The opening Gm lays a solid floor for everything that follows. The backbone is Gm, F, Dm7, Cm7 — vi–V–iii7–ii7 from the Bb side, i–VII–v7–iv7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → F (ii7 → V in Bb, iv7 → VII in Gm): ii → V — the classic preparation of the dominant. It closes on Dm7, letting the Bb 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.
Sinan Akçıl - Sefil (Semra San) 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: Sinan AkçılMusic: Sinan AkçılArrangement: Mustafa Ceceli
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