Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Niran Ünsal - Hangimiz Sevmedik - Chord
Key Eb major – C minor Chords Gm, D#, Cm, G#, A#, G, Fm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
G G# G G# G G# G G#
D# Gm D# Gm D# Gm Cm
Cm A# Cm A# Cm A# G# Gm
D# Gm D# Gm
Hangimiz düşmedik kara sevdaya
D# Gm Cm
Hangimiz sevmedik çılgınlar gibi
A# Cm A#
Hangimiz bir kuytu köşe başında
Cm A# G# Gm
Bir vefasız için yol gözlemedik
D# G#
Herkesten bir anı saklar bu yollar
Fm A#
Herkesin acısı sevgisi kadar
Cm G# Gm
Güzelmiş çirkinmiş ne farkeder ki
Cm A# G# Gm
Deli gibi sevmek ruhumuzda var
D# Gm D# Gm
Aşığın gözü kör kulağı sağır
D# Gm Cm
Doğruyu yanlışı ondan görmedik
D# Gm D# Gm
Yakıldı yıkıldı yinede sevgi
Cm A# G# Gm
Ah o vefasızlar kıymet bilmediler
End of song Play again?
Niran Ünsal - Hangimiz Sevmedik Tabs
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Harmony analysis
Niran Ünsal – Hangimiz Sevmedik: key and chord analysis
The song opens on G and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
- #7 = B (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Eb major and C minor because Eb is heard 12 times against 11 for Cm and the major V chord points straight at Cm. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Eb or to Cm; 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 | D# | Tonic — home | D# · G · A# | 12× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 1× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 16× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 4× |
| IV | G# | Subdominant — moves away from home | G# · B# · D# | 10× |
| V | A# | Dominant — strongest pull home | A# · D · E# | 9× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 11× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 11× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | D# | Relative major — the bright side | D# · G · A# | 12× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 1× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 16× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 4× |
| VI | G# | Submediant — warm colour | G# · B# · D# | 10× |
| VII | A# | Subtonic — steps back to the tonic | A# · D · E# | 9× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 63 times in total; 6 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm.
Chord movement
- A# Cm EbV → videceptive cadence CmVII → iAeolian arrival ×5
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×5
- G# D# EbIV → Iplagal cadence CmVI → III ×1
- Fm A# Ebii → Vii → V Cmiv → VII ×1
The move to watch is A# → Cm, heard 5 times. From the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm); from the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over D#, land on D#, G, A# — 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.
- When G comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.
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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on G, the song gives away its key from the very first bar. Gm, D#, Cm, G# carry the song: iii–I–vi–IV relative to Eb, v–III–i–VI relative to Cm. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A# → Cm (V → vi in Eb, VII → i in Cm): deceptive cadence — expected Eb, lands on Cm. It closes on Gm, letting the Eb 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.
Niran Ünsal - Hangimiz Sevmedik 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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