Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Hopera - Bu Sevgi Sana Fazla - Chord
Key Ab major – F minor Chords Fm, Cm, Dbmaj7, Eb Easy key C
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Key: Ab | Fm
Capo: 0
Fm Cm Dbmaj7 Cm
Fm
Bu sevgi sana fazla
Cm Dbmaj7
Denedim ama olmuyor bizden asla
Eb Fm
Kokun üzerimde hala
Cm Dbmaj7
Sen yoksan eğer bu kalp eksik anla
Fm
Artık anla, öldüm valla
Fm Cm
Bana geceleri zehir ediyor
Dbmaj7
Hiç bi cümlenin anlamı yok
Eb
Bu aşk beni zindan ediyor bak
Fm
Çık git aklımdan
x2
Fm Cm Dbmaj7 Eb
x2
Fm
Bi kalp bi kere severmiş
Cm
Seni sevmek ölümden betermiş
Dbmaj7
Bana ne yaptın söyle
Eb
Bu hicran zamanla geçer mi
Fm
Her gece doluyo içime bi kasvet
Cm Dbmaj7
Ne yapsam olmadı atamadım aklımdan
Sana olan içimde ki hasret
Eb Fm
Bi gecede biter sandım ama öldüm kahrımdan
Fm
Bu sevgi sana fazla
Cm Dbmaj7
Denedim ama olmuyor bizden asla
Eb Fm
Kokun üzerimde hala
Cm Dbmaj7
Sen yoksan eğer bu kalp eksik anla
Fm
Artık anla, öldüm valla
Fm Cm
Bana geceleri zehir ediyor
Dbmaj7
Hiç bi cümlenin anlamı yok
Eb
Bu aşk beni zindan ediyor bak
Fm
Çık git aklımdan
x2
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Hopera - Bu Sevgi Sana Fazla Tabs
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Harmony analysis
Hopera – Bu Sevgi Sana Fazla: key and chord analysis
The song opens on Fm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it both starts and finishes on Fm and Fm is heard 15 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 11× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 10× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 7× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 15× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 15× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 11× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 10× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 7× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 43 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
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×7
- Dbmaj7 Eb AbIVmaj7 → VIV → V FmVImaj7 → VIIVI → VII ×7
- Dbmaj7 Fm AbIVmaj7 → vi FmVImaj7 → iVI → i ×2
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1
The move to watch is Eb → Fm, heard 7 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Dbmaj7, land on Db, F, Ab — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Fm lays a solid floor for everything that follows. Fm, Cm, Dbmaj7, Eb carry the song: vi–iii–IVmaj7–V relative to Ab, i–v–VImaj7–VII relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. The final chord is Fm; the ear comes to rest in Fm.
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.
Hopera - Bu Sevgi Sana Fazla 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: HoperaMusic: HoperaArrangement: İlkan Günüç , Hopera
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