Yaşar - Acıtmıyor Sevdan - Chord

Key Gb major – Eb minor Chords D#m, G#m, A# Easy key C (capo 6)

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Capo 0

G#m  D#m  A#  D#m 

D#m                         G#m
Ellerimin altından kayıp gider zaman
A#                          D#m
Gozlerimi diktim yollarına geliyor musun
D#m                      G#m
Eridim yaktığım mumlar gibi geçiyor zaman
A#                           D#m
Gözlerimi diktim yollarına dönüyor musun
 
         G#m              D#m
Dönüyor aman dünya başım duman
         A#                     D#m
Batıyor ama acıtmıyor senin sevdan
 
D#m
Gittiğinde yazdı sonbahar geçti
G#m
Ve bütün mevsimler
A#
Bittiğimi yazdı okumadın mı
              D#m
Beni manşetlerden
 
D#m
Gittiğinde yazdı kaç bahar geçti
G#m
Şunun Şurasında
A#
Şimdi aşkımız bir annenin
             D#m
Çocuğa duasında

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Harmony analysis

Yaşar – Acıtmıyor Sevdan: key and chord analysis

The song opens on G#m and ends on D#m. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

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)

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 comes to rest on Ebm, Ebm is heard 12 times while Gb never appears 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	G#m	Supertonic — prepares the dominant	G# · B · D#	6×
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#	6×
IV	Cb	Subdominant — moves away from home	Cb · Eb · Gb	—
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi	D#m	Relative minor — the melancholy side	D# · F# · A#	12×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	D#m	Tonic — home	D# · F# · A#	12×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv	G#m	Subdominant — moves away from home	G# · B · D#	6×
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#	6×
VI	Cb	Submediant — warm colour	Cb · Eb · Gb	—
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	—

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 24 times in total; 2 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.

Chord movement

A# D#m GbV/vi → vi EbmV → iharmonic-minor cadence ×6
G#m A# Gbii → V/vi Ebmiv → Viv → V ×4
G#m D#m Gbii → vi Ebmiv → iminor plagal ×2

The move to watch is A# → D#m, heard 6 times. From the Ebm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V/vi → vi. 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 A#, land on A#, D, E# — 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 down · capo 1 keeps the original pitch

The song's harmonic story

The opening G#m lays a solid floor for everything that follows. The backbone is D#m, G#m, A# — vi–ii–V/vi from the Gb side, i–iv–V 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 A# → D#m (V/vi → vi in Gb, V → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. The final chord is D#m; the ear comes to rest in Ebm.

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.