Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Sezer Sarıgöz - Sana Hiç Değmezmiş - Chord
Key Eb major – C minor Chords Cm7, Gm7, Fm7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm7 Gm7 Fm7 Cm7
Cm7 Gm7
Tutan olmaz ellerinden
Fm7
Uzak kalsam da gülüşünden
Gm7 Cm7
Bi' yanım sana hasreti söyler susar öylecee
Cm7 Gm7
Biliyorsun, seni seversem
Fm7
Kaybolduğum o gecelerde
Gm7 Cm7
Rüyaları seyredebilsem karşımdaa
Cm7 Gm7
Seviyorken ağlatır onlar
Fm7
Hiç sevgi görmediler
Yaşattiğın bu hisleri
Gm7 Cm7
Anlattiğıma zaten değmediler
Cm7 Gm7
Bu hikâyede yalnızlığımla
Fm7
Artik başbaşa kalsam da
Gm7
Tek çaresi sen olsan da
Cm7
Sana hiç değmezmiş
End of song Play again?
Sezer Sarıgöz - Sana Hiç Değmezmiş Tabs
NotesX
Harmony analysis
Sezer Sarıgöz – Sana Hiç Değmezmiş: key and chord analysis
The song opens on Cm7 and ends on Cm7. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because it both starts and finishes on Cm and Cm is heard 10 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii7 | Fm7 | Supertonic — prepares the dominant | F · Ab · C · Eb | 5× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 9× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 10× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 10× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv7 | Fm7 | Subdominant — moves away from home | F · Ab · C · Eb | 5× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 9× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | — |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 24 times in total; 3 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
- Gm7 Cm7 Ebiii7 → vi7 Cmv7 → i7natural-minor cadence ×4
- Fm7 Cm7 Ebii7 → vi7 Cmiv7 → i7minor plagal ×1
The move to watch is Gm7 → Cm7, heard 4 times. From the Cm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Cm7, land on C, Eb, G — 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.
- Over Fm7, land on F, Ab, C — 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Cm7 lays a solid floor for everything that follows. Cm7, Gm7, Fm7 carry the song: vi7–iii7–ii7 relative to Eb, i7–v7–iv7 relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm7 → Cm7 (iii7 → vi7 in Eb, v7 → i7 in Cm): natural-minor cadence — gentle, modal arrival. It closes on Cm7, letting the Cm 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.
Sezer Sarıgöz - Sana Hiç Değmezmiş 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: Sezer SarıgözMusic: Sezer SarıgözArrangement: Yiğit Seferoğlu
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