Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Mor ve Ötesi - Sevda Çiçeği - Chord
Key D major – B minor Chords Em, G, F#, Bm, E5, F#5, A Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Em G F# Em Sessiz sedasız açardın gecelerde Em F# G Em Kimse bilemez, göremez kuytularda Em G F# Em Sonsuz ve dipsiz sevdalarda, duygularda E5 F# G Em Sakin, kimsesiz ve sahipsiz uykularımda Em F#5 G A Bm G Şimdi artık seni koklar yalnızlığım Em F# Bm Em Seni arar seni sorar sevda çiçeğim
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Mor ve Ötesi - Sevda Çiçeği Tabs
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Harmony analysis
Mor ve Ötesi – Sevda Çiçeği: key and chord analysis
The song opens on Em and ends on Em. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
- #7 = A# (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 B minor side because Bm is heard 2 times while D never appears and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 10× |
| II | E5 | Supertonic — prepares the dominant | E · B | 1× |
| III | F#5 | Mediant — a tonic-family shade | F# · C# | 1× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 5× |
| IV | G | Subdominant — moves away from home | G · B · D | 6× |
| V | A | Dominant — strongest pull home | A · C# · E | 1× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 2× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 2× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | 10× |
| IV | E5 | Subdominant — moves away from home | E · B | 1× |
| V | F#5 | Minor dominant — soft pull | F# · C# | 1× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 5× |
| VI | G | Submediant — warm colour | G · B · D | 6× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 1× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 26 times in total; 6 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# is V/vi, a secondary dominant heading for Bm.
Chord movement
- Em F# Dii → V/vi Bmiv → Viv → V ×2
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×1
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1
- G A DIV → VIV → V BmVI → VIIVI → VII ×1
The move to watch is Em → F#, heard 2 times. From the Bm side it is iv → V (iv → V: the minor side's tension builder); from the D side it reads ii → V/vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Em, land on E, G, B — 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.
- Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- When F# comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. The backbone is Em, G, F#, Bm — ii–IV–V/vi–vi from the D side, iv–VI–V–i from the Bm side. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Em → F# (ii → V/vi in D, iv → V in Bm): iv → V — the minor side's tension builder. The final chord is Em; the ear comes to rest in D.
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.
Mor ve Ötesi - Sevda Çiçeği 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: Fikret KızılokMusic: Orhan Gencebay
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