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)
Çelik - Sevenler Anlar - Chord
Key Db major – Bb minor Chords Fm, F#, D#m, A#m, G#, G#m Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Fm F#
Nasıl sevdim seni sevenler anlar
D#m Fm
Severken ayrılan çekenler anlar
A#m G#
Halimi bir türlü anlatamadım
F#
İçim ezildi içim çare bulamadım
G#m F#
Aradım olmadı sordum olmadı
D#m Fm
Severken ayrılan çekenler anlar
Fm
Yok işte yok her şey yalan
F# D#m Fm
Gözler yalan sözler yalan
End of song Play again?
Çelik - Sevenler Anlar Tabs
NotesX
Harmony analysis
Çelik – Sevenler Anlar: key and chord analysis
The song opens on Fm 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 Bbm is heard 1 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 | D#m | Supertonic — prepares the dominant | D# · F# · A# | 3× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 5× |
| V/vi | F | Secondary dominant V/vi — leads to A#msecondary dominant | F · A · C | — |
| IV | F# | Subdominant — moves away from home | F# · A# · C# | 4× |
| V | G# | Dominant — strongest pull home | G# · B# · D# | 1× |
| v | G#m | Chromatic colour chordoutside the key | G# · B · D# | 1× |
| vi | A#m | Relative minor — the melancholy side | A# · C# · E# | 1× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | A#m | Tonic — home | A# · C# · E# | 1× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | D#m | Subdominant — moves away from home | D# · F# · A# | 3× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 5× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | F# | Submediant — warm colour | F# · A# · C# | 4× |
| VII | G# | Subtonic — steps back to the tonic | G# · B# · D# | 1× |
| vii | G#m | Chromatic colour chordoutside the key | G# · B · D# | 1× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 15 times in total; 5 of them sit naturally inside the shared scale. G#m step outside the scale as colour chords.
Chord movement
- Fm A#m Dbiii → vi Bbmv → inatural-minor cadence ×1
The move to watch is Fm → A#m, heard once. 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 F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over D#m, land on D#, F#, A# — 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. Fm, F#, D#m, A#m carry the song: iii–IV–ii–vi relative to Db, v–VI–iv–i relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → A#m (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.
Çelik - Sevenler Anlar 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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