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)
HiraiZerdüş - Sevdan Yere Batsın - Chord
Key Db major – Bb minor Chords Fm, Bbm, Gb, Ebm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm Gb Fm x2 Bbm Fm Gb Ebm Fm Bbm Fm Ne zaman hatırlasam yüreğim incinir Gb Fm Batarır gemileri bir karış suda kalbim Bbm Fm Bir uzun keder ile kalırım yapayalnız Gb Fm Yaktığın bu ateşin közü de acıtır Külü de acıtır, külü de acıtır Bbm Sen gam diye varsın Fm Sevdan yere batsın Gb Ebm Hadsiz bi tuzaksın Fm Ebm Fm Duramam derdinle Bbm Söz verir cayarsın Fm Sarsam yaralarsın Gb Ebm Sen böyle bir yarsın Fm Ebm Fm Duramam derdinle Bbm Fm Gb Ebm Fm x2 Bbm Fm Ne zaman hatırlasam ellerim üşür benim Gb Fm Uzayıp giden yola bakarım derin derin Bbm Fm Kırdığın şu kalbimi oyalar bi kaç serçe Gb Fm Bendeki bu yangının külü de acıtır Bbm Sen gam diye varsın Fm Sevdan yere batsın Gb Ebm Hadsiz bi tuzaksın Fm Ebm Fm Duramam derdinle Bbm Söz verir cayarsın Fm Sarsam yaralarsın Gb Ebm Sen böyle bir yarsın Fm Ebm Fm Duramam derdinle
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HiraiZerdüş - Sevdan Yere Batsın Tabs
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Harmony analysis
HiraiZerdüş – Sevdan Yere Batsın: key and chord analysis
The song opens on Bbm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
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 and Bbm is heard 11 times while Db never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 10× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 26× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 11× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 11× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 11× |
| 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 | 10× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 26× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 11× |
| 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 58 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
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×10
The move to watch is Fm → Bbm, heard 10 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — 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 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
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. The backbone is Fm, Bbm, Gb, Ebm — iii–vi–IV–ii from the Db side, v–i–VI–iv from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. The final chord is Fm; 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.
HiraiZerdüş - Sevdan Yere Batsın 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: HiraiZerdüşMusic: HiraiZerdüş
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