Çelik - Kim Daha Çok Seviyor - Chord

Key Bb major – G minor Chords Gm, F, Cm, G# Easy key G (capo 3)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Gm                         Cm
Kim her sabah bir karanfil koyar gider baş ucuna
F                   Gm
Kim okşar gözlerini sana her bakışında

Cm                   F
Kim tapar giyindiğin bir sıradan kazağa
G#                    F       Gm
Söyle yarim kim daha çok seviyor

F             Cm              Gm
Sen yalnızca naz yapmayı bilirsin
F          Gm         F                Gm
Ağlatırsın inletirsin yalvartmayı bilirsin
F                Cm           Gm
Seviyorum dersin eziyeti seversin
F                    Cm              Gm
Her zaman keyiftesin neşedesin zevktesin

Gm                    Cm
Kim canını hiçe sayar biricik aşkı uğruna
F                    Gm
Kim bekler yollarını tüm geceler boyunca

Cm                  F
Kim verir umarsızca her şeyini avucuna
G#                  F     Gm
Söyle yarim kim daha çok seviyor

End of song Play again?

Çelik - Kim Daha Çok Seviyor Tabs

NotesX

Harmony analysis

Çelik – Kim Daha Çok Seviyor: key and chord analysis

The song opens on Gm and ends on Gm. 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 both starts and finishes on Gm and Gm is heard 11 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	—
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	11×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	11×
bVII	G#	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	G# · B# · D#	2×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	11×
bII	G#	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	G# · B# · D#	2×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
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	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	11×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 31 times in total; 3 of them sit naturally inside the shared scale. G# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×6
Cm F Bbii → Vii → V Gmiv → VII ×4
Cm Gm Bbii → vi Gmiv → iminor plagal ×3

The move to watch is F → Gm, heard 6 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). 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 Gm, land on G, Bb, D — 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
On G#, follow the chord's notes (G# · B# · D#) rather than the key's scale — it's a borrowed colour.

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

3 semitones down · capo 3 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. The backbone is Gm, F, Cm, G# — vi–V–ii–bVII from the Bb side, i–VII–iv–bII from the Gm side. G# briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. It closes on Gm, letting the Gm 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.