Hayko Cepkin - Ağla Sevdam - Chord

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

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Capo 0

Bb       B     G#m    Bb
Beni sen al, yeminim var
         B      G#m      Bb
Kül olup söndüm ateşine sar
B                           Bb
Sar sar beni sar beni sana sar
B              Bb
Sar sar bana sensin yar

D#m                    Bbm
Habersiz kuşlar geçer, geceler zehir zıkkım
D#m                       Bbm
Gözlerini sel basmış, yangınlar ardındayım
B                     Bb
Aşığım ben sana çok aşığım
B                      Bb
Yola çık yollardayım of of

Bb         B    G#m   Bb
Kördüğüm çember dar duvar
            B      G#m    Bb
Can evimden bıkar bu can uçar
B                     Bb
Boş kalır o hanlar saraylar

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Hayko Cepkin - Ağla Sevdam Tabs

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Harmony analysis

Hayko Cepkin – Ağla Sevdam: key and chord analysis

The song opens on Bb 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 Ebm is heard 2 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#	4×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	2×
V/vi	Bb	Secondary dominant V/vi — leads to D#msecondary dominant	Bb · D · F	11×
IV	B	Subdominant — moves away from home	B · D# · F#	9×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi	D#m	Relative minor — the melancholy side	D# · F# · A#	2×
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#	2×
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#	4×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	2×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	11×
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). 5 different chords appear 28 times in total; 4 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

G#m Bb Gbii → V/vi Ebmiv → Viv → V ×4
Bb D#m GbV/vi → vi EbmV → iharmonic-minor cadence ×1
Bbm D#m Gbiii → vi Ebmv → inatural-minor cadence ×1

The move to watch is G#m → Bb, heard 4 times. From the Ebm side it is iv → V (iv → V: the minor side's tension builder); from the Gb side it reads ii → V/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 B, land on B, D#, F# — 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.
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

Starting on Bb, the song gives away its key from the very first bar. Bb, B, G#m, D#m carry the song: V/vi–IV–ii–vi relative to Gb, V–VI–iv–i relative to Ebm. 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 G#m → Bb (ii → V/vi in Gb, iv → V in Ebm): iv → V — the minor side's tension builder. 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.