Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Cem Adrian - Ben Seni Sevdiğimi (Özlem Çelik) - Chord
Key Eb major – C minor Chords Ab, G, Cm, Fm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
G Ab G Ben seni sevduğumi oy, dunyalara bildurdum Cm Ab Fm Ab G Endurdun kaşlaruni, babani mi babani mi eldurdum Cm Ab Cm Ab Endurdun kaşlaruni, endurdun kaşlaruni Fm Ab G Babani, babani mi eldurdum G Ab G En dereye dereye, al dereden taşlari Cm Ab Fm Ab G Geçti bizden sevdaluk, al cebumden al cebumden saçlari Cm Ab Cm Ab Geçti bizden sevdaluk, geçti bizden sevdaluk Fm Ab G Al cebumden al cebumden saçlari G Ab G Yaz geldi bahar geldi, açtı yeşil yapraklar G Ab G Yaz geldi bahar geldi oy, açtı yeşil yapraklar Cm Ab Fm Ab G Ben sana doyamadum, doysun kara topraklar Cm Ab Cm Ab Ben sana doyamadum, ben sana doyamadum Fm Ab Doysun kara, doysun kara Fm G Doysun kara topraklar
Şarkı Nihavend Makamı'ndadır.
End of song Play again?
Cem Adrian - Ben Seni Sevdiğimi (Özlem Çelik) Tabs
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Harmony analysis
Cem Adrian – Ben Seni Sevdiğimi (Özlem Çelik): key and chord analysis
The song opens on G and ends on G. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
- #7 = B (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 C minor side because Cm is heard 9 times while Eb never appears and the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 7× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 14× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 19× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 9× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 9× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 7× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 14× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 19× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 49 times in total; 3 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm.
Chord movement
- G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×6
- Ab Cm EbIV → vi CmVI → iVI → i ×3
- Fm G Ebii → V/vi Cmiv → Viv → V ×1
The move to watch is G → Cm, heard 6 times. From the Cm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — 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.
- When G comes, swap the scale's Bb for B: 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is G; the ear learns where home is within a second. The backbone is Ab, G, Cm, Fm — IV–V/vi–vi–ii from the Eb side, VI–V–i–iv from the Cm side. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → Cm (V/vi → vi in Eb, V → i in Cm): harmonic-minor cadence — the major V resolves dramatically. It closes on G, letting the Eb 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.
Cem Adrian - Ben Seni Sevdiğimi (Özlem Çelik) 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: Maçkalı Hasan TunçMusic: Maçkalı Hasan Tunç
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