Flört - Yine de Seni Seviyorum - Chord

Key Bb major – G minor Chords Cm, Gm, Bb, Eb, F, Dm Easy key G (capo 3)

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Capo 0

Cm                       Gm   Bb
Kanatlanıp uçsam mı gökyüzüne 
Cm                          Gm   Bb
Ya da insem mi cehennemin dibine 
Cm                          Gm              Cm
Düşünüyorum seni sevmek bir hata mı, yoksa hata mı
  
Cm                         Gm  Bb
Güneş doğmuş batmış fark etmez 
Cm                         Gm    Bb
Diyar diyar gezsem yine değişmez 
Cm                 Gm                     Cm            F
Sevda mı ceza mı başıma nedir, bir başıma nedir, bilemiyorum

     Eb    Dm       Cm
Yine de seni seviyorum 
     Eb    Dm       Gm
Yine de seni seviyorum 
                
Cm                  Gm    Bb
Nedir bu paramparça halim 
Cm                    Gm     Bb 
Nasıl bir halvetin içindeyim 
Cm                        Gm               Cm          F
Nerde bu merhem kalmadı mecalim, kalmadı halim, bilemiyorum

Eb       Gm                 Cm
Nerden bakarsan bak tam bir saçmalık
Eb        Gm            Cm
Kime fayda vermiş ki bu ayrılık
          F
Ben ne diyorum

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Flört - Yine de Seni Seviyorum Tabs

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Harmony analysis

Flört – Yine de Seni Seviyorum: key and chord analysis

The song opens on Cm and ends on F. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

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 Gm is heard 12 times against 6 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	6×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	15×
iii	Dm	Mediant — a tonic-family shade	D · F · A	2×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	4×
V	F	Dominant — strongest pull home	F · A · C	3×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	12×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	12×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	6×
iv	Cm	Subdominant — moves away from home	C · Eb · G	15×
v	Dm	Minor dominant — soft pull	D · F · A	2×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	4×
VII	F	Subtonic — steps back to the tonic	F · A · C	3×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 42 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Cm Gm Bbii → vi Gmiv → iminor plagal ×9
Cm F Bbii → Vii → V Gmiv → VII ×3
Eb Gm BbIV → vi GmVI → iVI → i ×2
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1

The move to watch is Cm → Gm, heard 9 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.

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

3 semitones down · capo 3 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The backbone is Cm, Gm, Bb, Eb — ii–vi–I–IV from the Bb side, iv–i–III–VI from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. The final chord is F; 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.