Simge - Sevilmeye Doy Diye - Chord

Key Bb major – G minor Chords Gm7, Dm7, Cm7, Eb, F, G7 Easy key C

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Capo 0

Gm7  Gm7  Eb  Eb  Cm7  Eb  Gm7

Gm7                           F
Söyle gidelim bir ucundan tutarak
               Eb
Yeter ki dokunarak usulca sokularak
              Dm7
Rüya mı değil mi kendimize sorarak

            Gm7
Benden yana hiç olmasın şüphen
F
Darılırım sonra hepten
                 Eb
Her satırında haklı illaki dokunaklı
                  Cm7                Gm7
Bir şarkıya korkmadan sonunda teslim olmalı

Gm7
Kör karanlığında kaybolup gecenin
Cm7               F
Dudaklarından süzülen her güzel hecenin
Dm7            G7
Esir nefesinde kalsın orda cennetim
Cm7                Dm7
Soluksuz uçarken yanında ben kimim

Gm7
Al Yüreğim sevilmeye doy diye
F 
Batağına düştük aşkın o biçim bide
Cm7
Tek dileğim o da yenilmek bile bile
Dm7                Cm7       Dm7
Vazgeçtim inadımdan o da seninim diye
x2

Gm7  Dm7  Eb  F  Eb  Dm7  Gm7

Gm7
Kör karanlığında kaybolup gecenin
Cm7               F
Dudaklarından süzülen her güzel hecenin
Dm7            G7
Esir nefesinde kalsın orda cennetim
Cm7                Dm7
Soluksuz uçarken yanında ben kimim

Gm7
Al Yüreğim sevilmeye doy diye
F 
Batağına düştük aşkın o biçim bide
Cm7
Tek dileğim o da yenilmek bile bile
Dm7                Cm7       Dm7
Vazgeçtim inadımdan o da seninim diye
x2

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Simge - Sevilmeye Doy Diye Tabs

NotesX

Harmony analysis

Simge – Sevilmeye Doy Diye: key and chord analysis

The song opens on Gm7 and ends on Dm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

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 opens on Gm and Gm is heard 12 times while Bb never appears. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	10×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	11×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	7×
V	F	Dominant — strongest pull home	F · A · C	7×
vi7	Gm7	Relative minor — the melancholy side	G · Bb · D · F	12×
V7/ii	G7	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D · F	2×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i7	Gm7	Tonic — home	G · Bb · D · F	12×
V7/iv	G7	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D · F	2×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	10×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	11×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	7×
VII	F	Subtonic — steps back to the tonic	F · A · C	7×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 49 times in total; 5 of them sit naturally inside the shared scale. G7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×5
Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×2
G7 Cm7 BbV7/ii → ii7secondary resolution GmV7/iv → iv7 ×2
Cm7 Gm7 Bbii7 → vi7 Gmiv7 → i7minor plagal ×1
Eb Gm7 BbIV → vi7 GmVI → i7VI → i ×1
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×1

The move to watch is Dm7 → Gm7, heard 5 times. From the Gm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → vi7. 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 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

The opening Gm7 lays a solid floor for everything that follows. The chords that keep coming back are Gm7, Dm7, Cm7, Eb; read them as vi7–iii7–ii7–IV in Bb or i7–v7–iv7–VI in Gm. G7 adds a moment of surprise: secondary dominant V/ii — leads to Cm. Keep an ear on Dm7 → Gm7 (iii7 → vi7 in Bb, v7 → i7 in Gm): natural-minor cadence — gentle, modal arrival. Ending on Dm7, the song seals Bb 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.