Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Sevcan Orhan - Bahçada Yeşil Çınar - Chord
Key Ab major – F minor Chords Cm, Ebm, Bbm, Fm, F, Db, Ab Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Cm
Bahçada yeşil çınar
Db Cm Ebm
Boyun boyuma uyar
Fm Cm Ebm
Ben seni gizli sevdim
F Bbm Cm
Bilmedim alem duyar
Ab Cm
Nanay gülüm
Db Bbm Cm
Nananay, top kaküllüm
Fm Cm Ebm F Bbm Cm
Nanay, nanay esmer yarimsin nanay
Fm Cm Ebm F Bbm Cm
Nanay, nanay kendi malımsın nanay
Fm Cm Ebm F Bbm Cm
Cm
Bahçada erik dalı
Db Cm Ebm
Var git ellerin yari
Fm Cm Ebm
Sen bana yar olmazsın
F Bbm Cm
Yüzüme gülme bari
Ab Cm
Nanay gülüm
Db Bbm Cm
Nananay, top kaküllüm
Fm Cm Ebm F Bbm Cm
Nanay, nanay esmer yarimsin nanay
Fm Cm Ebm F Bbm Cm
Nanay, nanay kendi malımsın nanay
End of song Play again?
Sevcan Orhan - Bahçada Yeşil Çınar Tabs
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Harmony analysis
Sevcan Orhan – Bahçada Yeşil Çınar: key and chord analysis
The song opens on Cm and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because Fm is heard 7 times against 2 for Ab. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | 2× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 9× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 22× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 4× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| v | Ebm | Chromatic colour chordoutside the key | Eb · Gb · Bb | 9× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 7× |
| V/ii | F | Secondary dominant V/ii — leads to Bbmsecondary dominant | F · A · C | 7× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 7× |
| V/iv | F | Secondary dominant V/iv — leads to Bbmsecondary dominant | F · A · C | 7× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 2× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 9× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 22× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 4× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
| vii | Ebm | Chromatic colour chordoutside the key | Eb · Gb · Bb | 9× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 60 times in total; 5 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×5
The move to watch is Cm → Fm, heard 5 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Cm, land on C, Eb, G — 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 Bbm, land on Bb, Db, F — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Cm; the ear learns where home is within a second. The backbone is Cm, Ebm, Bbm, Fm — iii–v–ii–vi from the Ab side, v–vii–iv–i from the Fm side. F adds a moment of surprise: secondary dominant V/ii — leads to Bbm. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. Ending on Cm, the song seals Ab 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.
Sevcan Orhan - Bahçada Yeşil Çınar 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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