Yeni Türkü - Sezenler Olmuş - Chord

Key Bb major – G minor Chords Dm, Eb, F, Cm, Gm, Em, Am, G Easy key C

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Capo 0

Dm  Dm  Dm  Dm  Eb

Dm          Cm          F         Dm
 Seni yerlerde göklerde bulamazlarken
            Cm       Eb         Dm
Bende gizli olduğunu sezenler olmuş
 
Gm           Eb    Dm        F
 Dumlu dumluymuşsun yüreğimde
Cm          Eb    Dm    Eb   Dm
 Kımıl kımılmışsın bileklerimde

Gm  Eb          Dm  F         Cm
     Türkü olmuşsun, umudummuşsun 
Eb        Dm    Eb   Dm
 Ellerimde gözbebeğimde
 
Dm        Cm            F           Dm
 Aramızda dağlar yollar yıllar var iken
          Cm             Eb         Dm
Beni sana sımsıkı sarılı görenler olmuş

Gm            Eb   Dm         F
 Sargın yaprakmışım dallarına
Cm            Eb   Dm     Eb  Dm
 Yangın toprakmışım yağmurlarına
 
Am  F           Em  G         Dm
     Türkü olmuşsun, umudummuşsun 
F       Em    F   Em 
 Sevdama yarınlarıma

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Yeni Türkü - Sezenler Olmuş Tabs

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Harmony analysis

Yeni Türkü – Sezenler Olmuş: key and chord analysis

The song opens on Dm and ends on Em. 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 Gm is heard 3 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	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	7×
iii	Dm	Mediant — a tonic-family shade	D · F · A	20×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	12×
#iv	Em	Chromatic colour chordoutside the key	E · G · B	3×
V	F	Dominant — strongest pull home	F · A · C	8×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	3×
V/ii	G	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D	1×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
vii	Am	Chromatic colour chordoutside the key	A · C · E	1×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	3×
V/iv	G	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D	1×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
ii	Am	Chromatic colour chordoutside the key	A · C · E	1×
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	7×
v	Dm	Minor dominant — soft pull	D · F · A	20×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	12×
#vi	Em	Chromatic colour chordoutside the key	E · G · B	3×
VII	F	Subtonic — steps back to the tonic	F · A · C	8×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 55 times in total; 5 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×3
Cm F Bbii → Vii → V Gmiv → VII ×2

The move to watch is Dm → Gm, heard 3 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — 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 first chord is Dm; the ear learns where home is within a second. Dm, Eb, F, Cm carry the song: iii–IV–V–ii relative to Bb, v–VI–VII–iv relative to Gm. G adds a moment of surprise: secondary dominant V/ii — leads to Cm. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Em, letting the Bb side have the last word.

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.