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)
Gülşen - Adı Aşk Sebebimin - Chord
Key F major – D minor Chords Am, Gm, Bbmaj7, C, D7, Em7b5, Dm, F Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am Belki de zamansız açtım içimi Bbmaj7 Yüreğim şeffaftı, aklımsa deli Am C D7 Ben geldim, sen kaçtın hep bana inat Gm Em7b5 Am Bir vardın bir yoktun, hep masal gibi Am Bbmaj7 Ne kara kaşına, ne kara gözüne Am D7 Gm Ben tek bir sözüne tutulup kaldım Bbmaj7 Am Değmedi bir kere ellerin yüzüme Gm Em7b5 Am Gel gör ki bin yıldır sanki vardın Dm Gm C F Adı aşk sebebimin, her hata kalbimin Dm C Hep değerinden, hep gereğinden Gm C F Am Hak ettiğinden çok sevdim Am Bbmaj7 Ne kara kaşına, ne kara gözüne Am D7 Gm Ben tek bir sözüne tutulup kaldım Bbmaj7 Am Değmedi bir kere ellerin yüzüme Gm Bbmaj7 Am Gel gör ki bin yıldır sanki vardın
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Gülşen - Adı Aşk Sebebimin Tabs
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Harmony analysis
Gülşen – Adı Aşk Sebebimin: key and chord analysis
The song opens on Am and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.
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: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 2× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 7× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 12× |
| 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 | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 4× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 2× |
| V7/ii | D7 | Secondary dominant V/ii — leads to Gmsecondary dominant | D · F# · A · C | 3× |
| viiø7 | Em7b5 | Leading-tone chord — tension | E · G · Bb · D | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 2× |
| V7/iv | D7 | Secondary dominant V/iv — leads to Gmsecondary dominant | D · F# · A · C | 3× |
| iiø7 | Em7b5 | Supertonic — prepares the dominant | E · G · Bb · D | 2× |
| III | F | Relative major — the bright side | F · A · C | 2× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 7× |
| v | Am | Minor dominant — soft pull | A · C · E | 12× |
| 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 | 6× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 4× |
Analysis
The key pair is F major and its relative D minor (1 flat). 8 different chords appear 38 times in total; 7 of them sit naturally inside the shared scale. D7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D7 Gm FV7/ii → iisecondary resolution DmV7/iv → iv ×3
- C F FV → Iauthentic cadence DmVII → III ×2
- Gm C Fii → Vii → V Dmiv → VII ×2
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×1
The move to watch is D7 → Gm, heard 3 times. From the F side it reads V7/ii → ii (secondary resolution: D7 resolves a fourth up to Gm); from the Dm side it is V7/iv → iv. 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Bbmaj7, land on Bb, D, F — 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 Am; the ear learns where home is within a second. Am, Gm, Bbmaj7, C carry the song: iii–ii–IVmaj7–V relative to F, v–iv–VImaj7–VII relative to Dm. D7 adds a moment of surprise: secondary dominant V/ii — leads to Gm. Keep an ear on D7 → Gm (V7/ii → ii in F, V7/iv → iv in Dm): secondary resolution — D7 resolves a fourth up to Gm. It closes on Am, letting the F 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.
Gülşen - Adı Aşk Sebebimin 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: GülşenMusic: Gülşen
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