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)
Sertab Erener - Koparılan Çiçekler - Chord
Key Bb major – G minor Chords Cm, Dm, Gm, Eb, Ebmaj7, F Easy key C
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Key: Bb | Gm
Capo: 0
Gm Cm
İyi ki varsın iyi ki sevmişim seni
Eb Cm Gm
Hem aldın hem çaldın helal helal sana
Cm
İyi ki varsın iyi ki sevmişim seni
Eb Cm Gm
Hem aldın hem çaldın helal helal sana
Dm Eb Cm Eb
Yok istemem diyen gönlüm çöle bile razı şimdi
F Cm
Yanlış yola giden bendim lütfen dön gel
Gm
Ben yazdım kadere hüznü, perişanı
Dm
Sonu gelmez yinede bitemez ümitler
Ebmaj7
Ama yoksa bahçemin eski şanı
Dm Cm Dm
Sebebi koparılan çiçekler
Gm
Ben yazdım kadere hüznü, perişanı
Dm
Sonu gelmez yinede bitemez ümitler
Ebmaj7
Ama yoksa bahçemin eski şanı
Dm Cm Dm
Sebebi koparılan çiçekler
End of song Play again?
Sertab Erener - Koparılan Çiçekler Tabs
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Harmony analysis
Sertab Erener – Koparılan Çiçekler: key and chord analysis
The song opens on Gm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 5 times while Bb never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 7× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 4× |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 2× |
| V | F | Dominant — strongest pull home | F · A · C | 1× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 5× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 5× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | 7× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 4× |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 2× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 1× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 27 times in total; 6 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
- Cm Gm Bbii → vi Gmiv → iminor plagal ×3
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×1
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
The move to watch is Cm → Gm, heard 3 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — 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.
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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. Cm, Dm, Gm, Eb carry the song: ii–iii–vi–IV relative to Bb, iv–v–i–VI relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. Ending on Dm, the song seals Bb as home.
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.
Sertab Erener - Koparılan Çiçekler 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: Soner SarıkabadayıMusic: Soner Sarıkabadayı
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