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)
Zeki Müren - Sorma Ne Haldeyim - Chord
Key F major – D minor Chords Dm, F, C, Gm, Bb, G, Cm Easy key G
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Key: F | Dm
Capo: 0
Dm Gm C F Gün ağarınca boynum bükülür Dm C Bb Dm Dalarım uzaklara gönlüm sıkılır F Sorma ne haldeyim C Sorma kederdeyim Dm G Sorma yangınlardayım zaman zaman F Sorma utanırım C Sorma söyleyemem Dm C Dm Sorma nöbetlerdeyim başım duman Dm G Dm Ah bu yangın beni öldürüyor yavaş yavaş Bb F Gm F Kor kor alevler yanıyor içimde Gm Dm Aşkı beni kül ediyor Gm F Cm Dm Kor kor alevler yanıyor içimde Dm F Dm Aşkı beni kül ediyor
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Zeki Müren - Sorma Ne Haldeyim Tabs
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Harmony analysis
Zeki Müren – Sorma Ne Haldeyim: key and chord analysis
The song opens on Dm and ends on Dm. 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 D minor side because it both starts and finishes on Dm and Dm is heard 12 times against 7 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 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 | 7× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 4× |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 2× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 2× |
| V | C | Dominant — strongest pull home | C · E · G | 5× |
| v | Cm | Chromatic colour chordoutside the key | C · Eb · G | 1× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 12× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 12× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 7× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 4× |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 2× |
| 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 | 2× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 5× |
| vii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 1× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 33 times in total; 5 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×3
- C F FV → Iauthentic cadence DmVII → III ×1
- Bb F FIV → Iplagal cadence DmVI → III ×1
- Gm Dm Fii → vi Dmiv → iminor plagal ×1
- Gm C Fii → Vii → V Dmiv → VII ×1
- Bb Dm FIV → vi DmVI → iVI → i ×1
The move to watch is C → Dm, heard 3 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). 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 Dm, land on D, F, A — 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 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 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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, F, C, Gm; read them as vi–I–V–ii in F or i–III–VII–iv in Dm. G adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. Ending on Dm, the song seals Dm as home.
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.
Zeki Müren - Sorma Ne Haldeyim 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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