Nova Norda - İstesen de Sevemezsin - Chord

Key Db major – Bb minor Chords Bbm, Fm, Gbmaj7, F7 Easy key C (capo 1)

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Capo 0

                  Bbm
İstesen de sevemezsin
                     Fm
Sevdiğine iyi gelemezsin
                  Gbmaj7
Aynada gördüğün benim
                  F7
Benimle yüzleşemezsin

Bbm
 Bu kalbin günahı ne? çok beddua ettim helal et
Fm
 Sevgili hain bu ahın sende vebali
Gbmaj7
 Nasıl geldin bu hale? Her girdiğin ev bi harabe
F7
 Sen bi hayalet
 

Bbm
 Değdi mi madem? yok edip içimdeki güveni
Fm
 Kaçıp gittin, hareket edemedim
                         Gbmaj7
 Yarattığın yıkımı göremedin
                   F7
 Hala varsa bahanen böyle devam et

                  Bbm
İstesen de sevemezsin
                     Fm
Sevdiğine iyi gelemezsin
                  Gbmaj7
Aynada gördüğün benim
                  F7
Benimle yüzleşemezsin

                   Bbm
Öldürürsün, gömemezsin
               Fm
Bedelini ödemezsin
                Gbmaj7
Yangına sırtını çevirip
                  F7
Külleri yok edemezsin

Bbm
 Sevgili hain, bil ki affetmedim halen
Fm
 İyilik dolu kalbime yaptığının yok tamiri manen
Gbmaj7
 Kendine ait vicdanın varsa bi yerde
F7
  Kaçtığın yerde olmadığı bariz

Bbm
 Kaç yalan söyledin
                        Fm
Ne çekindin ne de kekeledin zehrinle beni de lekeledin
                           Gbmaj7           F7
Ben utandım seni sevdiğim için yıktın güvenimi

            Bbm
Buna hakkın yoktu
                          Fm
Umarım hüznün benimkinden çoktu
                       Gbmaj7
Geceleri bi başına yapamazken
                        F7
Dilerim iyi bi tesellin yoktur

Bbm  Fm  Gbmaj7  F7

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Nova Norda - İstesen de Sevemezsin Tabs

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Harmony analysis

Nova Norda – İstesen de Sevemezsin: key and chord analysis

The song opens on Bbm and ends on F7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)
#7 = A (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 Bb minor side because it opens on Bbm, Bbm is heard 9 times while Db never appears and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	—
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	9×
V7/vi	F7	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C · Eb	9×
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	9×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	9×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	9×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	—
v	Fm	Minor dominant — soft pull	F · Ab · C	9×
V7	F7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C · Eb	9×
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	9×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	—

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 36 times in total; 3 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F7 is V7/vi, a secondary dominant heading for Bbm.

Chord movement

F7 Bbm DbV7/vi → visecondary resolution BbmV7 → iharmonic-minor cadence ×8

The move to watch is F7 → Bbm, heard 8 times. From the Bbm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V7/vi → vi (secondary resolution: F7 resolves a fourth up to Bbm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Gbmaj7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
When F7 comes, swap the scale's Ab for A: 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em 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 Bbm; the ear learns where home is within a second. The backbone is Bbm, Fm, Gbmaj7, F7 — vi–iii–IVmaj7–V7/vi from the Db side, i–v–VImaj7–V7 from the Bbm side. F7 is the interesting twist: in Db it is a chromatic chord (V7/vi), while in Bbm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F7 → Bbm (V7/vi → vi in Db, V7 → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. The final chord is F7; the ear comes to rest in Db.

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.