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)
Seçil Gür - Sebepsiz Çiçek (Serdar Ortaç) - Chord
Key Gb major – Eb minor Chords Bbm, Ebm, Abm, B, Db, Bm, Gb Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bbm
Sebepsiz çiçek açılmıyor dedin
Ebm Db
Ben hergün açıyorum
B
Kırdığın dalımı şimdilerde
Bbm
Elimle suluyorum
Ebm
Yok olsun hayatımdan
Abm Bbm
Vurupta kapıyı çıkan
Ebm
Gelmesin aklımaa
Abm Bbm
Hergün canımı yakan
Ebm Abm
Unutmasında benden ona kalan
Bm
Ah bile değil
Ebm
Hepsi yalan dolan
Abm Bbm
Gerisi sadece ah falan filan
Ebm
Atmasın yeter kalbim başkasına
Bbm
Ders olsun yeter
B Abm
Gülmesin yüzüm yalandan gülene
Bbm Gb
Hergünüm beter
Bbm
Sebepsiz çiçek açılmıyor dedin
Ebm Db
Ben hergün açıyorum
B
Kırdığın dalımı şimdilerde
Bbm
Elimle suluyorum
End of song Play again?
Seçil Gür - Sebepsiz Çiçek (Serdar Ortaç) Tabs
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Harmony analysis
Seçil Gür – Sebepsiz Çiçek (Serdar Ortaç): key and chord analysis
The song opens on Bbm and ends on Bbm. 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 Eb minor side because Ebm is heard 7 times against 1 for Gb. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | 1× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 5× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 9× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 3× |
| iv | Bm | Minor iv — borrowed from the parallel minorborrowed chord | B · D · F# | 1× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 2× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 7× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 7× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 1× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 5× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 9× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 3× |
| vi | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 2× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 28 times in total; 6 of them sit naturally inside the shared scale. Bm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×6
The move to watch is Bbm → Ebm, heard 6 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- On Bm, follow the chord's notes (B · D · F#) 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 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 Bbm, the song gives away its key from the very first bar. Bbm, Ebm, Abm, B carry the song: iii–vi–ii–IV relative to Gb, v–i–iv–VI relative to Ebm. Bm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. It closes on Bbm, 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.
Seçil Gür - Sebepsiz Çiçek (Serdar Ortaç) 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: Seçil Gür Music: Seçil Gür Arrangement: Serdar Ortaç
Hakan Yelbiz
Hakan Yelbiz
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