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)
Gülben Ergen - Seni Kırmışlar - Chord
Key Bb major – G minor Chords Ebmaj7, Dm7, Cm7, Bb Easy key C
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Key: Bb | Gm
Capo: 0
Ebmaj7 Dm7 Cm7 Bb
Ebmaj7
Seni kırmışlar yarim
Dm7
Ağlamazdın, hep gülerdin
Cm7
İçmezdin bu kadar çok
Bb
Ellerin titremezdi, ben bilirim
Ebmaj7 Dm7
Aaah, geceler zehir
Cm7
Keşkeler gelir akla
Bb
Bir yardım eli uzatın nolur
Ebmaj7 Dm7
İnan, derdimdeyim
Cm7
Yemin ederim
Bb
Unutmam asla
Ebmaj7
Kuruduğunda kalbim
Dm7
Sığınırdım yağmurlarına
Cm7
Sen böyle değildin
Bb
Çok severdin, seni kırmışlar onlar
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Gülben Ergen - Seni Kırmışlar Tabs
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Harmony analysis
Gülben Ergen – Seni Kırmışlar: key and chord analysis
The song opens on Ebmaj7 and ends on Bb. 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 Bb major side because it comes to rest on Bb and Bb is heard 5 times while Gm never appears. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
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 | 5× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 5× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 5× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 5× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 5× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 5× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 5× |
| 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 | 5× |
| 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). 4 different chords appear 20 times in total; 4 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- 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.
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 Ebmaj7, the song gives away its key from the very first bar. The backbone is Ebmaj7, Dm7, Cm7, Bb — IVmaj7–iii7–ii7–I from the Bb side, VImaj7–v7–iv7–III from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Bb; the ear comes to rest in Bb.
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.
Gülben Ergen - Seni Kırmışlar 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: Kubilay KarçaMusic: Kubilay KarçaArrangement: Taşkın Sabah
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