Sezen Aksu - Aşk - Chord

Key Bb major – G minor Chords Eb7, D7, G, Ab, Cm, Bm, Gm, Abm … Easy key G (capo 3)

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Capo 0

G  D7  D7  G  Em  Bm  Cm  D7

Gm             D7
Bak, yağıyor yağmur
              Gm
Her damlada gözlerin
Eb          Bb
Bak, esiyor rüzgar
A7                D7
Rüzgar dediğim de sensin

Gm            D7
Bak, sımsıcak güneş
                Gm
Sevginle ısındı içim
Eb           Bb
Sen vazgeçemediğim
A7                D7
Yanımda bile hasretimsin

G       D7             G
Güneş doğarken, çiçek açarken
Em         Bm     Cm          D7
Ve hayat geçerken, ben seninleyim
G        Bm         Am     Bm
Bir gün olur ayrılık kapımı çalarsa
Am      G          D7     G    Eb7
Senle yaşanan zaman yeter bana

Ab  Eb7  Eb7  Ab  Fm  Cm  Dbm  Eb7

Abm            Eb7
Bak, yağıyor yağmur
              Abm
Her damlada gözlerin
E           B
Bak, esiyor rüzgar
Bb7               Eb7
Rüzgar dediğim de sensin

Abm           Eb7
Bak, sımsıcak güneş
                Abm
Sevginle ısındı içim
E            B
Sen vazgeçemediğim
Bb7               Eb7
Yanımda bile hasretimsin

Ab      Eb7            Ab
Güneş doğarken, çiçek açarken
Fm         Cm     Dbm         Eb7
Ve hayat geçerken, ben seninleyim
Ab       Cm         Bbm    Cm
Bir gün olur ayrılık kapımı çalarsa
Bbm     Ab         Eb7    Ab   E7
Senle yaşanan zaman yeter bana

End of song Play again?

Sezen Aksu - Aşk Tabs

NotesX

Harmony analysis

Sezen Aksu – Aşk: key and chord analysis

The song opens on G and ends on E7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because the major V chord points straight at Gm. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	2×
V7/IV	Bb7	Secondary dominant V/IV — leads to Ebsecondary dominant	Bb · D · F · Ab	2×
i	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	2×
bii	Bm	Chromatic colour chordoutside the key	B · D · F#	4×
bII	B	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	B · D# · F#	2×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	6×
biii	Dbm	Chromatic colour chordoutside the key	Db · Fb · Ab	2×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	10×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	2×
IV7	Eb7	Chromatic colour chordoutside the key	Eb · G · Bb · Db	11×
#iv	Em	Chromatic colour chordoutside the key	E · G · B	2×
#IV	E	Chromatic colour chordoutside the key	E · G# · B	2×
#IV7	E7	Chromatic colour chordoutside the key	E · G# · B · D	1×
V	F	Dominant — strongest pull home	F · A · C	—
v	Fm	Chromatic colour chordoutside the key	F · Ab · C	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	4×
V/ii	G	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D	7×
bVII	Ab	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Ab · C · Eb	7×
bvii	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	4×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
V7/iii	A7	Secondary dominant V/iii — leads to Dmsecondary dominant	A · C# · E · G	2×
vii	Am	Chromatic colour chordoutside the key	A · C · E	2×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	4×
V/iv	G	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D	7×
bII	Ab	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Ab · C · Eb	7×
bii	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	4×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
V7/v	A7	Secondary dominant V/v — leads to Dmsecondary dominant	A · C# · E · G	2×
ii	Am	Chromatic colour chordoutside the key	A · C · E	2×
III	Bb	Relative major — the bright side	Bb · D · F	2×
V7/VI	Bb7	Secondary dominant V/VI — leads to Ebsecondary dominant	Bb · D · F · Ab	2×
iii	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	2×
#iii	Bm	Chromatic colour chordoutside the key	B · D · F#	4×
#III	B	Chromatic colour chordoutside the key	B · D# · F#	2×
iv	Cm	Subdominant — moves away from home	C · Eb · G	6×
#iv	Dbm	Chromatic colour chordoutside the key	Db · Fb · Ab	2×
v	Dm	Minor dominant — soft pull	D · F · A	—
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	10×
VI	Eb	Submediant — warm colour	Eb · G · Bb	2×
VI7	Eb7	Chromatic colour chordoutside the key	Eb · G · Bb · Db	11×
#vi	Em	Chromatic colour chordoutside the key	E · G · B	2×
#VI	E	Chromatic colour chordoutside the key	E · G# · B	2×
#VI7	E7	Chromatic colour chordoutside the key	E · G# · B · D	1×
VII	F	Subtonic — steps back to the tonic	F · A · C	—
vii	Fm	Chromatic colour chordoutside the key	F · Ab · C	2×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 20 different chords appear 76 times in total; 4 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm. G, A7, Bb7 act as secondary dominants, briefly pointing at another chord of the key. Ab, B are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Eb7 Ab BbIV7 → bVIIsecondary resolution GmVI7 → bII ×6
D7 G BbV7/vi → V/iisecondary resolution GmV7 → V/iv ×5
D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×4
Eb7 Abm BbIV7 → bviisecondary resolution GmVI7 → bii ×4
Eb Bb BbIV → Iplagal cadence GmVI → III ×2
Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×2

The move to watch is Eb7 → Ab, heard 6 times. From the Gm side it is VI7 → bII; from the Bb side it reads IV7 → bVII (secondary resolution: Eb7 resolves a fourth up to Ab). 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 Eb7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
On Ab, follow the chord's notes (Ab · C · Eb) rather than the key's scale — it's a borrowed colour.

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

3 semitones down · capo 3 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on G, the song gives away its key from the very first bar. The chords that keep coming back are Eb7, D7, G, Ab; read them as IV7–V7/vi–V/ii–bVII in Bb or VI7–V7–V/iv–bII in Gm. Eb7 is the interesting twist: in Bb it is a chromatic chord (IV7), while in Gm it becomes the dominant (VI7) that makes the minor side sound so determined. Keep an ear on Eb7 → Ab (IV7 → bVII in Bb, VI7 → bII in Gm): secondary resolution — Eb7 resolves a fourth up to Ab. The final chord is E7; the ear comes to rest in Bb.

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.