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)
Fatih Koca - Ne Zaman Anarsam Seni - Chord
Key Bb major – G minor Chords Gm7, F, Bb, Ebmaj7, Cm, Gm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm7 Bb Ne zaman anarsam seni Ebmaj7 F Kararım kalmaz Allah'ım Cm Gm7 Bb Senden gayrı gözüm yaşın F Gm7 Ebmaj7 F Gm Kimseler silmez Allaah'ım Gm7 Bb Sensin ismi baki olan Ebmaj7 F Sensin dillerde okunan Cm Gm7 Bb Senin aşkına dokunan F Gm7 Ebmaj7 F Gm Kendini bilmez Allaah'ım Cm Gm7 Bb F Gm7 Ebmaj7 F Gm Gm7 Bb Aşık Yunus seni ister Ebmaj7 F Lutf eyle cemalin göster Cm Gm7 Bb Cemalin gören aşıklar F Gm7 Ebmaj7 F Gm Ebedi ölmez Allaah'ım Aşk bahrına dalmayan Canını feda kılmayan Senin cemalin görmeyen Meydana gelmez Allah'ım Zor olur aşıkın işi Durmaz akar gözün yaş Senden ayrı düşen kişi Didarın görmez Allah'ım
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Fatih Koca - Ne Zaman Anarsam Seni Tabs
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Harmony analysis
Fatih Koca – Ne Zaman Anarsam Seni: key and chord analysis
The song opens on Gm7 and ends on Gm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it both starts and finishes on Gm and Gm is heard 15 times against 7 for Bb. 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 |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | 7× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 4× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 7× |
| V | F | Dominant — strongest pull home | F · A · C | 11× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 11× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 4× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 11× |
| i | Gm | Tonic — home | G · Bb · D | 4× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 7× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 4× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 7× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 11× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 44 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
- Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×7
- Cm Gm7 Bbii → vi7 Gmiv → i7minor plagal ×4
- F Gm7 BbV → vi7deceptive cadence GmVII → i7Aeolian arrival ×4
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
The move to watch is Ebmaj7 → F, heard 7 times. From the Gm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Bb side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). 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 Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, 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 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Gm7, the song gives away its key from the very first bar. Gm7, F, Bb, Ebmaj7 carry the song: vi7–V–I–IVmaj7 relative to Bb, i7–VII–III–VImaj7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → F (IVmaj7 → V in Bb, VImaj7 → VII in Gm): VI → VII — the rising step that heads for the tonic. The final chord is Gm; the ear comes to rest in Gm.
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.
Fatih Koca - Ne Zaman Anarsam Seni 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: Aşık YunusMusic: Van Yöresi (kaynak kişi-M.Emin Ay)
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