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)
Ahuzar - Sen Hiç mi Bahar Görmedin - Chord
Key Gb major – Eb minor Chords F#, G#m, A#m, Bmaj7, D#m, C# Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
D#m A#m F# Bmaj7 G#m F# G#m C# F# A#m G#m F# Yangın yangın bakışların Bmaj7 D#m Saçların rüzgar rüzgar Bmaj7 A#m Savur alevini yansın G#m C# F# Gözlerine konan turnalar Bmaj7 A#m Savur alevini yansın G#m C# F# Gözlerine düşen damlalar D#m A#m Sen hiç mi bahar görmedin F# Bmaj7 Yüreğin aşka sermedin G#m F# Beni kovsan gitmem derdin G#m C# F# Yavan kokusuz yalancı D#m A#m Şehirde ezgimiz yandı gittin F# Bmaj7 Deva bulmam gözlerime, değdin G#m F# Şimdi kupkuru bir çöl gibi sözlerin G#m C# F# Yaban kokusuz yalancı A#m G#m F# En kaynar su bile olsan Bmaj7 A#m Ateşimi söndürürdün D#m A#m Bmaj7 Yüreğine bir sorabilseydin G#m F# Bu zulümü bitirirdin D#m A#m Sen hiç mi bahar görmedin F# Bmaj7 Yüreğin aşka sermedin G#m F# Beni kovsan gitmem derdin G#m C# F# Yavan kokusuz yalancı D#m A#m Şehirde ezgimiz yandı gittin F# Bmaj7 Deva bulmam gözlerime, değdin G#m F# Şimdi kupkuru bir çöl gibi sözlerin G#m C# F# Yaban kokusuz yalancı
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Ahuzar - Sen Hiç mi Bahar Görmedin Tabs
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Harmony analysis
Ahuzar – Sen Hiç mi Bahar Görmedin: key and chord analysis
The song opens on D#m and ends on F#. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Gb major side because it comes to rest on Gb, it opens on Ebm and Gb is heard 20 times against 7 for Ebm. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F# | Tonic — home | F# · A# · C# | 20× |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 15× |
| iii | A#m | Mediant — a tonic-family shade | A# · C# · E# | 11× |
| V/vi | Bb | Secondary dominant V/vi — leads to D#msecondary dominant | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 10× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 7× |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 7× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 7× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | F# | Relative major — the bright side | F# · A# · C# | 20× |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 15× |
| v | A#m | Minor dominant — soft pull | A# · C# · E# | 11× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VImaj7 | Bmaj7 | Submediant — warm colour | B · D# · F# · A# | 10× |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 7× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 70 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
- C# F# GbV → Iauthentic cadence EbmVII → III ×7
- G#m C# Gbii → Vii → V Ebmiv → VII ×7
- Bmaj7 D#m GbIVmaj7 → vi EbmVImaj7 → iVI → i ×1
- A#m D#m Gbiii → vi Ebmv → inatural-minor cadence ×1
The move to watch is C# → F#, heard 7 times. From the Gb side it reads V → I (authentic cadence: the strongest arrival home); from the Ebm side it is VII → III. 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 F#, land on F#, A#, C# — 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#m, land on A#, C#, E# — 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 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 D#m, the song gives away its key from the very first bar. The chords that keep coming back are F#, G#m, A#m, Bmaj7; read them as I–ii–iii–IVmaj7 in Gb or III–iv–v–VImaj7 in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C# → F# (V → I in Gb, VII → III in Ebm): authentic cadence — the strongest arrival home. It closes on F#, letting the Gb side have the last word.
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.
Ahuzar - Sen Hiç mi Bahar Görmedin 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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