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)
Vural - Susma (Sema Aydemir) - Chord
Key Eb major – C minor Chords Gm7, Abmaj7, Cm7, Fm7, Bb7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Gm7 Abmaj7 Gm7 Yoruldum tek taraflı yaşanmıyor aşk Abmaj7 Cm7 Vurdukça dibe vuruyor Gm7 Fm7 Gm7 Cesaretin mi yok, neden suskunsun böyle söyle Abmaj7 Gm7 Sus ma Gm7 Abmaj7 Gm7 Zamana yenik düşer mi sence aşk Abmaj7 Durgun bir deniz mi Cm7 Gm7 Fm7 Gm7 Yoksa fırtına öncesi sessizlik mi bu böyle söyle Abmaj7 Gm7 Sus ma Gm7 Abmaj7 Sende mevsim sonbahar Önümüz kış, yolumuz kar Gm7 Cm7 Ya şimdi çek git ya da hep kal Fm7 Bb7 Gm7 Bir karar ver gelsin yaz
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Vural - Susma (Sema Aydemir) Tabs
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Harmony analysis
Vural – Susma (Sema Aydemir): key and chord analysis
The song opens on Gm7 and ends on Gm7. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because Cm is heard 3 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii7 | Fm7 | Supertonic — prepares the dominant | F · Ab · C · Eb | 3× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 13× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IVmaj7 | Abmaj7 | Subdominant — moves away from home | Ab · C · Eb · G | 7× |
| V7 | Bb7 | Dominant — strongest pull home | Bb · D · F · Ab | 1× |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 3× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 3× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv7 | Fm7 | Subdominant — moves away from home | F · Ab · C · Eb | 3× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 13× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VImaj7 | Abmaj7 | Submediant — warm colour | Ab · C · Eb · G | 7× |
| VII7 | Bb7 | Subtonic — steps back to the tonic | Bb · D · F · Ab | 1× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 27 times in total; 5 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
- Abmaj7 Cm7 EbIVmaj7 → vi7 CmVImaj7 → i7VI → i ×2
- Gm7 Cm7 Ebiii7 → vi7 Cmv7 → i7natural-minor cadence ×1
- Fm7 Bb7 Ebii7 → V7ii → V Cmiv7 → VII7 ×1
The move to watch is Abmaj7 → Cm7, heard 2 times. From the Cm side it is VImaj7 → i7 (VI → i: falls a half step into home); from the Eb side it reads IVmaj7 → vi7. 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 Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Abmaj7, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, 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 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
The opening Gm7 lays a solid floor for everything that follows. The chords that keep coming back are Gm7, Abmaj7, Cm7, Fm7; read them as iii7–IVmaj7–vi7–ii7 in Eb or v7–VImaj7–i7–iv7 in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abmaj7 → Cm7 (IVmaj7 → vi7 in Eb, VImaj7 → i7 in Cm): VI → i — falls a half step into home. The final chord is Gm7; the ear comes to rest in Eb.
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.
Vural - Susma (Sema Aydemir) 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: Alper ŞahinMusic: Alper ŞahinArrangement: Ruhin İsmayilov
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