Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Şebnem Özsaran - Biraz sevgi vardı - Chord
Key F major – D minor Chords Dm, A, Gm, C, Bb, F, Em7b5 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Dm Gm C C A Dm Bb Bb Gm A A Dm
Dm A
En başta çok mutluyduk
Dm
İnan ki huzurluyduk
A
Bir çoğunun tersine
Dm
Biz sevgiyi bulmuştuk
Gm C
Birden herşey değişti
F Bb
Aşkımız sanki bitti
Em7b5 A
Üzüldüm çok ağladım
C F
Sebebi bilinmez ki
Gm C
Çok yalvardım olmadı
F Bb
Gözyaşım hiç kalmadı
Em7b5 A
Acımadan terk ettin
Dm
Ben de boşverdim seni
Dm
Biraz sevgi vardı
Gm
Hiç üzülme geçmişte kaldı
C
Yaşanmış anılar
A Dm
İnan hepsi soldu sarardı
Bb
Sanki bu ben değilim
Gm A
Olan herşeye perde çektim
Bunu ben istemedim
Dm
Biliyorsun ki tek sebep sensin
Dm Dm Gm C C A Dm Bb Bb Gm A A Dm
Dm A
Şimdi pişmanım diyorsun
Dm
Çok geç artık biliyorsun
A
Ne de olsa bir zamanlar
Dm
Ben de sevdim diyorsun
Gm C
Ama artık anlaşamam
F Bb
Öpüşüp koklaşamam
Em7b5 A
Ne yapsan da hepsi boş
C F
Aşkımı yaşatamam
Gm C
Bence en iyisi bu
F Bb
Hayırlısı doğrusu
Em7b5 A
Yalvarsan yakarsan da
Dm
Gönlümü avutamam
Dm
Biraz sevgi vardı
Gm
Hiç üzülme geçmişte kaldı
C
Yaşanmış anılar
A Dm
İnan hepsi soldu sarardı
Bb
Sanki bu ben değilim
Gm A
Olan herşeye perde çektim
Bunu ben istemedim
Dm
Biliyorsun ki tek sebep sensin
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Şebnem Özsaran - Biraz sevgi vardı Tabs
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Harmony analysis
Şebnem Özsaran – Biraz sevgi vardı: key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (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 D minor side because it both starts and finishes on Dm, Dm is heard 22 times against 6 for F and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | 6× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 12× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 18× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 10× |
| V | C | Dominant — strongest pull home | C · E · G | 12× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 22× |
| viiø7 | Em7b5 | Leading-tone chord — tension | E · G · Bb · D | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 22× |
| iiø7 | Em7b5 | Supertonic — prepares the dominant | E · G · Bb · D | 4× |
| III | F | Relative major — the bright side | F · A · C | 6× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 12× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 18× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 10× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 12× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 84 times in total; 6 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm.
Chord movement
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×14
- Gm C Fii → Vii → V Dmiv → VII ×8
- C F FV → Iauthentic cadence DmVII → III ×6
- Gm A Fii → V/vi Dmiv → Viv → V ×4
- Em7b5 A Fviiø7 → V/vi Dmiiø7 → Vii° → V ×4
The move to watch is A → Dm, heard 14 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, A, Gm, C; read them as vi–V/vi–ii–V in F or i–V–iv–VII in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Dm; the ear comes to rest in Dm.
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.
Şebnem Özsaran - Biraz sevgi vardı 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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