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)
İrem Derici - Gizli Sevda - Chord
Key Bb major – G minor Chords Dm, F, Cm, Gm, Eb, Bb, Cb Easy key C
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Key: Bb | Gm
Capo: 0
Gm Gm Cm Dm
F F Bb Cb
Eb Eb Dm Dm
F Cm Dm
Dm Cm
Her gün seni görüpte dokunamamak
F
Saçlarını ellerimle okşayamamak
Dm Eb
Sevap istemem artık günahsa günah
Cm F
Sustuk dudaklarımda yürekte feryat
Gm F
Bir gelsen, sarılsan seviyorum desen
Gm F Cm Dm
Ölürdüm sevinçten kollarında ben
Gm F
İnanmam, inanmam duyduklarıma
Gm F Cm Dm
Uzaksın tuzaksın, yasaksın bana
Gm Cm Dm
Korkma söylemem adını kimselere duyurmam
F Bb Cm
Sen bile bilmeyeceksin ömrün boyunca
Eb Dm
Sadece bu şarkıyla söylenecek dillerde
F Cm Dm
Bu gizli sevda
Gm Cm Dm
Adın iki hece dudaklarımda mühürlediğim
F Bb Cm
Gözlerin gece yüreğimde çakar şimşeklerin
Eb Dm
Sanki bilmece çözmeye cesaret edemem ki
F Cm Dm
Deli bu sevda
End of song Play again?
İrem Derici - Gizli Sevda Tabs
NotesX
Harmony analysis
İrem Derici – Gizli Sevda: 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 8 times against 3 for Bb. 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 | 3× |
| bII | Cb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Cb · Eb · Gb | 1× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 12× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 14× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 5× |
| V | F | Dominant — strongest pull home | F · A · C | 13× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 8× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 8× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 3× |
| #III | Cb | Chromatic colour chordoutside the key | Cb · Eb · Gb | 1× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 12× |
| v | Dm | Minor dominant — soft pull | D · F · A | 14× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 5× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 13× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 56 times in total; 6 of them sit naturally inside the shared scale. Cb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F Bb BbV → Iauthentic cadence GmVII → III ×3
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×3
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×3
- Cm F Bbii → Vii → V Gmiv → VII ×2
The move to watch is F → Bb, heard 3 times. From the Gm side it is VII → III; from the Bb 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
- 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 Dm, land on D, F, A — 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.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- On Cb, follow the chord's notes (Cb · Eb · Gb) rather than the key's scale — it's a borrowed colour.
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 opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Dm, F, Cm, Gm; read them as iii–V–ii–vi in Bb or v–VII–iv–i in Gm. Cb briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. The final chord is Dm; the ear comes to rest in Bb.
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.
İrem Derici - Gizli Sevda 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: Arzu DaydinçMusic: Arzu Daydinç
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