Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Oktay Gürtürk - Aşk Çiçeğim - Chord
Key Gb major – Eb minor Chords Bbm7, Bmaj7, Abm7, Gbmaj7 Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bmaj7 Bmaj7 Bbm7 Abm7 Bbm7 Bmaj7 Bmaj7 Gbmaj7 Abm7 Bbm7 Bbm7 Bmaj7 Üzmedim, seni bir gün kırmadım Bbm7 Bmaj7 Bbm7 Hiçbir gün günahını almadım Abm7 Bbm7 Gbmaj7 Allah'ım bu nasıl şey, ben de anlamadım Abm7 Bbm7 Yıkıldım sessiz gidişine Bmaj7 Yok yere gittin, canımın içiydin Bbm7 Abm7 Bbm7 Sevdam, gözbebeğim Bmaj7 Hazana uydun, beni niye vurdun Gbmaj7 Abm7 Bbm7 Aşkım, aşk çiçeğim Bmaj7 Bmaj7 Bbm7 Abm7 Bbm7 Bmaj7 Bmaj7 Gbmaj7 Abm7 Bbm7 Bmaj7 Yok yere gittin, canımın içiydin Bbm7 Abm7 Bbm7 Sevdam, gözbebeğim Bmaj7 Hazana uydun, beni niye vurdun Gbmaj7 Abm7 Bbm7 Aşkım, aşk çiçeğim
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Oktay Gürtürk - Aşk Çiçeğim Tabs
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Harmony analysis
Oktay Gürtürk – Aşk Çiçeğim: key and chord analysis
The song opens on Bmaj7 and ends on Bbm7. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Gb major side because Gb is heard 5 times while Ebm never appears. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Gb or to Ebm; 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 |
|---|---|---|---|---|
| Imaj7 | Gbmaj7 | Tonic — home | Gb · Bb · Db · F | 5× |
| ii7 | Abm7 | Supertonic — prepares the dominant | Ab · Cb · Eb · Gb | 10× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 17× |
| III | Bb | Chromatic colour chordoutside the key | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 14× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | — |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | — |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| IIImaj7 | Gbmaj7 | Relative major — the bright side | Gb · Bb · Db · F | 5× |
| iv7 | Abm7 | Subdominant — moves away from home | Ab · Cb · Eb · Gb | 10× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 17× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VImaj7 | Bmaj7 | Submediant — warm colour | B · D# · F# · A# | 14× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 46 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
- Bmaj7 Gbmaj7 GbIVmaj7 → Imaj7plagal cadence EbmVImaj7 → IIImaj7 ×4
The move to watch is Bmaj7 → Gbmaj7, heard 4 times. From the Gb side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Ebm side it is VImaj7 → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Bmaj7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Abm7, land on Ab, Cb, Eb — 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
Starting on Bmaj7, the song gives away its key from the very first bar. Bbm7, Bmaj7, Abm7, Gbmaj7 carry the song: iii7–IVmaj7–ii7–Imaj7 relative to Gb, v7–VImaj7–iv7–IIImaj7 relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bmaj7 → Gbmaj7 (IVmaj7 → Imaj7 in Gb, VImaj7 → IIImaj7 in Ebm): plagal cadence — the soft 'amen' ending. The final chord is Bbm7; the ear comes to rest in Gb.
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.
Oktay Gürtürk - Aşk Çiçeğim 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: Ercan SaatçiMusic: Ufuk YıldırımArrangement: Ufuk Yıldırım
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