Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Irmak Arıcı - Sürme Sürgüne (Ekin Uzunlar) - Chord
Key Db major – Bb minor Chords Ab, Bbm7, Gb, Ebm7 Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm7 Ab Bbm7 Ab Bbm7 Ab Bbm7 Ab
Bbm7
Kıskandı güneş seni
Ab Bbm7 Ab
Aya küstü ah
Bbm7 Ab
Sana ruhum hasret
Gb Ab
Halim bedbaht
Gb Ab Gb Ab
Yaralarımı sarar dedim yar
Ebm7 Ab Bbm7 Ab
Bana kalsa hep yalandın yar
Bbm7 Ab
Geldi işte canına yandığım yanıma
Gb Ab
Kaç kurşun yedim bilemedim
Bbm7 Ab
Düştü yine yüreğim serseri ayaza
Gb Ab
Sürme sürgüne diyemedim
Bbm7 Ab
Geldi işte canına yandığım yanıma
Gb Ab
Kaç kurşun yedim bilemedim
Bbm7 Ab
Düştü yine yüreğim serseri ayaza
Gb Ab
Sürme sürgüne diyemedim
Bbm7 Ab Gb Ab
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Irmak Arıcı - Sürme Sürgüne (Ekin Uzunlar) Tabs
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Harmony analysis
Irmak Arıcı – Sürme Sürgüne (Ekin Uzunlar): key and chord analysis
The song opens on Bbm7 and ends on Ab. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 13 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii7 | Ebm7 | Supertonic — prepares the dominant | Eb · Gb · Bb · Db | 1× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 8× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 22× |
| vi7 | Bbm7 | Relative minor — the melancholy side | Bb · Db · F · Ab | 13× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bbm7 | Tonic — home | Bb · Db · F · Ab | 13× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv7 | Ebm7 | Subdominant — moves away from home | Eb · Gb · Bb · Db | 1× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 8× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 22× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 44 times in total; 4 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
- Ab Bbm7 DbV → vi7deceptive cadence BbmVII → i7Aeolian arrival ×12
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×8
- Ebm7 Ab Dbii7 → Vii → V Bbmiv7 → VII ×1
The move to watch is Ab → Bbm7, heard 12 times. From the Bbm side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi7 (deceptive cadence: expected Db, lands on Bbm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Bbm7, the song gives away its key from the very first bar. The chords that keep coming back are Ab, Bbm7, Gb, Ebm7; read them as V–vi7–IV–ii7 in Db or VII–i7–VI–iv7 in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bbm7 (V → vi7 in Db, VII → i7 in Bbm): Aeolian arrival — rises a whole tone into home. It closes on Ab, letting the Db 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.
Irmak Arıcı - Sürme Sürgüne (Ekin Uzunlar) 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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Lyrics: Irmak ArıcıMusic: Irmak Arıcı
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