Sezen Aksu - Bir Çocuk Sevdim - Chord

Key Gb major – Eb minor Chords Bb, Ebm, Abm, B, Bbm, Gb Easy key C (capo 6)

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Capo 0

Ebm                      Bb
Bir çocuk gördüm uzaklarda
  B                Bb
Gözleri kederli hatta korkulu
     Abm                 Ebm
Her şeye rağmen bir an gülümsedi çocuk
B       Bbm       Abm       Bb
Sıcak sade ama biraz kuşkulu
 
Ebm                      Bb
Bir çocuk sevdim uzaklarda
    B                   Bb
Sanıyordum ki onun özlemi de buydu
Abm                 Ebm
O ise bir bakışta beni örtülerimden
   B          Bbm           Abm       Bb
Yalnızca, yalnızca duygularıyla soydu
 
Ebm                       Bbm
Ben böyle yürek görmedim böyle sevgi     
Ebm                Gb                    
Şimdi çocuk büyümekte gün be gün          
Abm                    Ebm                 
Bütün hüzünleri okşadı birer, birer      
B         Bbm          Abm         Bb    
Gizli bir ümide sarılarak biraz küskün   

Ebm                      Bb
Bir çocuk gördüm uzaklarda
    B                   Bb
Biraz çocuk biraz adam biraz hiçti 
   Abm               Ebm
Ellerinde yaşlı zaman demetleri
    B        Bbm        Abm            Bb
Daha önce denenmemiş yeni bir yol seçti 

Ebm                      Bb
Bir çocuk sevdim uzaklarda 
     B            Bb
Bir elinde yarın öbür elinde dün 
   Abm                 Ebm
Erken ihtiyarlamaktan sanki biraz üzgün 
  B      Bbm     Abm        Bb
Dünyanın haline bakıp güldü geçti

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Sezen Aksu - Bir Çocuk Sevdim Tabs

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Harmony analysis

Sezen Aksu – Bir Çocuk Sevdim: key and chord analysis

The song opens on Ebm and ends on Bb. 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 opens on Ebm, Ebm is heard 11 times against 1 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	1×
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	10×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	6×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	13×
IV	B	Subdominant — moves away from home	B · D# · F#	9×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	11×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	11×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	1×
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	10×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	6×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	13×
VI	B	Submediant — warm colour	B · D# · F#	9×
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). 6 different chords appear 50 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 Bb is V/vi, a secondary dominant heading for Ebm.

Chord movement

Abm Ebm Gbii → vi Ebmiv → iminor plagal ×5
Abm Bb Gbii → V/vi Ebmiv → Viv → V ×5
Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×4
Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×1

The move to watch is Abm → Ebm, heard 5 times. From the Ebm side it is iv → i (minor plagal: deep and melancholic); from the Gb side it reads ii → 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
When Bb 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 first chord is Ebm; the ear learns where home is within a second. The backbone is Bb, Ebm, Abm, B — V/vi–vi–ii–IV from the Gb side, V–i–iv–VI from the Ebm side. Bb 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 Abm → Ebm (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. Ending on Bb, the song seals Gb 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.