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)
Aysel Yakupoğlu - Sevemem Artık (Ömer Çakır) - Chord
Key Gb major – Eb minor Chords Bbm, B, Abm, Ebm, Gb Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm
Sevemem artık değil elimde elleri
B Abm Bbm
Bi başkası sarmış ben kokmuyo teni
Ebm
Yarası kalmış kalbin yanası kalmamış
B Abm Bbm
Kırdım şerefine kalkan kadehleri
Bbm
Bakmıyo gözleri bana eskisi gibi
B
Bugün var yarın yok bi yabancı gibi
Dokunsam düşecek dilimde sözleri
Abm Bbm
Yalanlarla dolu veda sitemleri
Bbm
İsmi lazım değil bu aşkın katili
B
Vefasızın biri hayırsızın biri
Söyleyin durmasın hep yaptığı gibi
Abm Bbm
Gitsin toplamadan dağıttığı kalbi
Gb
Sevemem artık değil elimde elleri
Abm B Bbm
Bi başkası sarmış ben kokmuyo teni
Gb
Yarası kalmış kalbin yanası kalmamış
Abm B Bbm
Kırdım şerefine kalkan kadehleri
Bbm
Unuttum adını da yok, yok hatırıda yok
B
Bi yarınıda yok dünde kaldı aşkı
Kestim hesabını çektim cefasını
Abm Bbm
Bu kalp yarasını sarmaz sarası yok
End of song Play again?
Aysel Yakupoğlu - Sevemem Artık (Ömer Çakır) Tabs
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Harmony analysis
Aysel Yakupoğlu – Sevemem Artık (Ömer Çakır): key and chord analysis
The song opens on Ebm and ends on Bbm. 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 Eb minor side because it opens on Ebm. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 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 |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | 2× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 7× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 10× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 7× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 2× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 2× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 2× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 7× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 10× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 7× |
| 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). 5 different chords appear 28 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
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×1
The move to watch is Bbm → Ebm, heard once. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → vi. 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Abm, 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 Ebm, the song gives away its key from the very first bar. Bbm, B, Abm, Ebm carry the song: iii–IV–ii–vi relative to Gb, v–VI–iv–i relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. The final chord is Bbm; 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.
Aysel Yakupoğlu - Sevemem Artık (Ömer Çakır) 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: Ömer ÇakırMusic: Ömer ÇakırArrangement: Ercan Bal - Sefa Nuh Polat
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