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)
Oğuzhan Koç - Sebepsiz Aşk - Chord
Key Gb major – Eb minor Chords D#m, G#m, C#, F#, B, A#, D# Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
D#m G#m Geçiyor günler çabuk, geçiyor yine aklım sende C# F# Çırpınsam da çok geç artık, ayrılık varmış sende D#m G#m Kurumuş gözlerimden akıyor yine gözyaşlarım C# F# Sen gibi mavi değil ama bende bazen ağlarım G#m C# Birgün açsam da görsen F# B Kalbim senin sevgilim G#m A# Belki birgün sende sevsen D#m D# Dünyalar benim göreceksin G#m C# Birgün olsun bulabilsem F# B Gerçek aşkı, sevgiyi G#m A# D#m Buldum da ne oldu sanki, ayrılık vakti D#m C# G#m D#m Aşk ağına zamansız düşüyorum D#m C# G#m D#m Ah bir başıma çaresiz ölüyorum bile bile
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Oğuzhan Koç - Sebepsiz Aşk Tabs
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Harmony analysis
Oğuzhan Koç – Sebepsiz Aşk: key and chord analysis
The song opens on D#m and ends on D#m. 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)
- #7 = D (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 Eb minor side because it both starts and finishes on Ebm, Ebm is heard 8 times against 4 for Gb and the major V chord points straight at 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 | F# | Tonic — home | F# · A# · C# | 4× |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 8× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | A# | Secondary dominant V/vi — leads to D#msecondary dominant | A# · D · E# | 2× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 2× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 6× |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 8× |
| V/ii | D# | Secondary dominant V/ii — leads to G#msecondary dominant | D# · G · A# | 1× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 8× |
| V/iv | D# | Secondary dominant V/iv — leads to G#msecondary dominant | D# · G · A# | 1× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | F# | Relative major — the bright side | F# · A# · C# | 4× |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 8× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | — |
| V | A# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A# · D · E# | 2× |
| VI | B | Submediant — warm colour | B · D# · F# | 2× |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 6× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 31 times in total; 5 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same A# is V/vi, a secondary dominant heading for Ebm. D# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C# F# GbV → Iauthentic cadence EbmVII → III ×4
- G#m C# Gbii → Vii → V Ebmiv → VII ×4
- A# D#m GbV/vi → vi EbmV → iharmonic-minor cadence ×2
- G#m D#m Gbii → vi Ebmiv → iminor plagal ×2
- G#m A# Gbii → V/vi Ebmiv → Viv → V ×2
The move to watch is C# → F#, heard 4 times. From the Ebm side it is VII → III; from the Gb side it reads V → I (authentic cadence: the strongest arrival home). 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 D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
- Over G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over C#, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
- When A# comes, swap the scale's Db for D: 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 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
The opening D#m lays a solid floor for everything that follows. The backbone is D#m, G#m, C#, F# — vi–ii–V–I from the Gb side, i–iv–VII–III from the Ebm side. A# is the interesting twist: in Gb it is a chromatic chord (V/vi), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C# → F# (V → I in Gb, VII → III in Ebm): authentic cadence — the strongest arrival home. Ending on D#m, the song seals Ebm 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.
Oğuzhan Koç - Sebepsiz Aşk 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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