Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Çelik - Sevdan Gözümün - Chord
Key F major – D minor Chords C, F, Bb, Eb Easy key D (capo 3)
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Key: F | Dm
Capo: 0
F C
Bitmedi mi kavuran hasret bitmedi mi
Bb F
Bu ayrılık acısı canıma yetmedi mi söyle
Bb C
Sar dedim dilersen vur dedim,
Eb Bb
Yüzün ne yapsam gözümden gitmedi
C Bb
Bitmeyecek gibi, ya canımı al ya beni
C Bb
Yankılanıp durdu kulağımda
C
Özlediğim sımsıcak sesin
F C Bb
Şimdi alev alev yakar beni, döne döne sarar seni
F
Sevdan gözümün bebeği
C Bb F
Bak yüzüme sevdanın izleri var, geçmesin faslı bahar
C F
İster uzak ister yakın, gözbebeğimin aşkı var
F C
Tütmedi mi dumanın ateşi tütmedi mi
Bb F
Bunca aşk bunca emek beni adam etmedi mi söyle
End of song Play again?
Çelik - Sevdan Gözümün Tabs
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Harmony analysis
Çelik – Sevdan Gözümün: key and chord analysis
The song opens on F and ends on F. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F major side because it both starts and finishes on F and F is heard 8 times while Dm never appears. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to F or to Dm; 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 | F | Tonic — home | F · A · C | 8× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 8× |
| V | C | Dominant — strongest pull home | C · E · G | 9× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| bVII | Eb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Eb · G · Bb | 1× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| bII | Eb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Eb · G · Bb | 1× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 8× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 8× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 9× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 26 times in total; 3 of them sit naturally inside the shared scale. Eb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bb F FIV → Iplagal cadence DmVI → III ×4
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×4
- C F FV → Iauthentic cadence DmVII → III ×2
The move to watch is Bb → F, heard 4 times. From the F side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Dm side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over C, land on C, E, G — 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- On Eb, follow the chord's notes (Eb · G · Bb) 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The opening F lays a solid floor for everything that follows. The chords that keep coming back are C, F, Bb, Eb; read them as V–I–IV–bVII in F or VII–III–VI–bII in Dm. Eb briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Bb → F (IV → I in F, VI → III in Dm): plagal cadence — the soft 'amen' ending. It closes on F, letting the F 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.
Çelik - Sevdan Gözümün 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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