Pinhani - Sevduğum Yanımda Uyusun - Chord

Key Gb major – Eb minor Chords F#, B, C# Easy key G

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Capo 0

F#
Bir gün bir gün bir düğünde, gördüm bir kız yirmisinde
                                                B
O da beni pek beğenmiş, çok görmeyin bunu bize of
                     F# 
Sevduğum yanımda uyusun
F#
Gözlerinden aklı belli, saçları var kömür rengi 
                                                B
Aman nazar deymesun, o da her gün düşünür beni of
                     F#
Sevduğum yanımda uyusun

C#                      B                   F# 
Daha fazla bekleyemem, sevduğum yanımda uyusun
C#                       B                   F#
Bundan açık söyleyemem, sevduğum yanımda uyusun

F#
Babasını çok severmiş, annesine çok benzermiş
                                                B
Gelinlik çağına gelmiş, ben de gittim istemeye of
                     F#
Sevduğum yanımda uyusun
F#
Babam beni vermeyince, kaçtım geldim bir gün önce
                                          B
Ben aklımı kaçurdum onu karşımda görünce of
                     F#
Sevduğum yanımda uyusun

End of song Play again?

Pinhani - Sevduğum Yanımda Uyusun Tabs

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Harmony analysis

Pinhani – Sevduğum Yanımda Uyusun: key and chord analysis

The song opens on F# and ends on F#. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

Major view

Gb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F (leading tone, pulls home)
4 = Cb (the note that leans on the 3rd)

Minor view

Eb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Cb (the minor's melancholy)
b7 = Db (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Gb major side because it both starts and finishes on Gb and Gb is heard 10 times while Ebm never appears. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Gb or to Ebm; 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 Gb major
Degree	Chord	Role	Notes	In song
I	F#	Tonic — home	F# · A# · C#	10×
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	—
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
III	Bb	Chromatic colour chordoutside the key	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	6×
V	C#	Dominant — strongest pull home	C# · E# · G#	2×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	—
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	—
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	F#	Relative major — the bright side	F# · A# · C#	10×
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	—
v	Bbm	Minor dominant — soft pull	Bb · Db · F	—
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	B	Submediant — warm colour	B · D# · F#	6×
VII	C#	Subtonic — steps back to the tonic	C# · E# · G#	2×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 18 times in total; 3 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

B F# GbIV → Iplagal cadence EbmVI → III ×6

The move to watch is B → F#, heard 6 times. From the Gb side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Ebm side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over C#, land on C#, E#, G# — 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 Gb major shapes

Capo 2 + E shapes
Capo 4 + D shapes
Capo 6 + C shapes

With Eb minor shapes

Capo 1 + Dm shapes
Capo 6 + Am shapes

Easiest keys on guitar

1 semitone up
3 semitones up

The song's harmonic story

The opening F# lays a solid floor for everything that follows. F#, B, C# carry the song: I–IV–V relative to Gb, III–VI–VII relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → F# (IV → I in Gb, VI → III in Ebm): plagal cadence — the soft 'amen' ending. It closes on F#, letting the Gb 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.