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)
Bora Öztoprak - Seni Seviyorum - Chord
Key Bb major – G minor Chords Dm7, Cm7, Ebmaj7, Gm, D7, Bbmaj7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm Dm7 Ebmaj7 Cm7 D7
Dm7 Cm7
Seviyorum demek zordur her zaman
Dm7 Cm7
Boş bir laf gibi gelir
Dm7 Cm7
Dur söyleme yalnızca bak bana
Dm7 Cm7
Gözlerim söyler nasıl olsa
Ebmaj7 Dm7
Her günün akşamında
Cm7 Bbmaj7
Seni çok çok seviyorum
Ebmaj7 Dm7
Gece göz kırparken duvarlara
Cm7 D7
Seni özlüyor ellerim
Gm Dm7
Seni seviyorum
Ebmaj7 Cm7 D7
Bu gece ah gir kollarıma
Gm Dm7
Yaşanan o duygularla
Ebmaj7 Cm7
Öp beni ah bu gece
D7 Gm
Bu gece öp beni
Gm Dm7 Ebmaj7 Cm7 D7
End of song Play again?
Bora Öztoprak - Seni Seviyorum Tabs
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Harmony analysis
Bora Öztoprak – Seni Seviyorum: key and chord analysis
The song opens on Gm and ends on D7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (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 G minor side because it opens on Gm, Gm is heard 5 times against 1 for Bb and the major V chord points straight at Gm. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Bbmaj7 | Tonic — home | Bb · D · F · A | 1× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 10× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 10× |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 5× |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 6× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 5× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 5× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 1× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 10× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 10× |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 5× |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 6× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 37 times in total; 5 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm.
Chord movement
- Cm7 D7 Bbii7 → V7/vi Gmiv7 → V7iv → V ×5
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×3
The move to watch is Cm7 → D7, heard 5 times. From the Gm side it is iv7 → V7 (iv → V: the minor side's tension builder); from the Bb side it reads ii7 → V7/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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- When D7 comes, swap the scale's F for F#: 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 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. The backbone is Dm7, Cm7, Ebmaj7, Gm — iii7–ii7–IVmaj7–vi from the Bb side, v7–iv7–VImaj7–i from the Gm side. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Cm7 → D7 (ii7 → V7/vi in Bb, iv7 → V7 in Gm): iv → V — the minor side's tension builder. Ending on D7, the song seals Bb 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.
Bora Öztoprak - Seni Seviyorum 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: Bora ÖztoprakMusic: Bora Öztoprak
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