Hande Ünsal - Çok Sevmekten - Chord

Key F major – D minor Chords Dm7, Am7, Gm7, Bbmaj7, Dm Easy key C (capo 5)

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Capo 0

Dm
Hayatımda duyduğum
           Gm7          Dm7
En saçma ayrılık konuşması
                          Gm7
İmkansızdan da imkansız artık
              Dm7
İkimizin kavuşması

Dm
İçimden bi ses diyo ki
     Bbmaj7
Çok uzun sürmez belli ki
   Am7         Gm7
Değmez yine değmez

Dm7           Am7
Hep kaybettik çok sevmekten
Dm7       Am7
Gözümüzde büyütmekten
Gm7           Am7
Ne geldiyse başımıza bu yüzden
Dm7        Bbmaj7
Gelmedi mi

Dm7  Am7  Dm7  Am7  Gm7  Am7  Dm7   Bbmaj7

Dm7           Am7
Hep kaybettik çok sevmekten
Dm7       Am7
Gözümüzde büyütmekten
Gm7           Am7
Ne geldiyse başımıza bu yüzden
Dm7        Bbmaj7
Gelmedi mi

Dm7  Am7  Dm7  Am7  Gm7  Am7  Dm7
                                Aşk zaaflıyız

End of song Play again?

Hande Ünsal - Çok Sevmekten Tabs

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Harmony analysis

Hande Ünsal – Çok Sevmekten: key and chord analysis

The song opens on Dm and ends on Dm7. 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 D minor side because it both starts and finishes on Dm and Dm is heard 16 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 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	—
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	7×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	13×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	4×
V	C	Dominant — strongest pull home	C · E · G	—
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	14×
vi	Dm	Relative minor — the melancholy side	D · F · A	2×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	14×
i	Dm	Tonic — home	D · F · A	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	7×
v7	Am7	Minor dominant — soft pull	A · C · E · G	13×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	4×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 40 times in total; 5 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

Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×8
Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×3
Bbmaj7 Dm7 FIVmaj7 → vi7 DmVImaj7 → i7VI → i ×3

The move to watch is Am7 → Dm7, heard 8 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → vi7. 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Gm7, land on G, Bb, D — 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 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

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

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. Dm7, Am7, Gm7, Bbmaj7 carry the song: vi7–iii7–ii7–IVmaj7 relative to F, i7–v7–iv7–VImaj7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. It closes on Dm7, letting the Dm 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.