Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Berkay Altunyay - Sil Numaramı - Chord
Key Ab major – F minor Chords Fm, C7, Bbm Easy key C
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Key: Ab | Fm
Capo: 0
Fm Bbm C7
Fm Bbm
Yarınlar küsüm bana doğma
C7
Koşsam maratonlar, üstüm yara tonla
Fm Bbm
Aslına varınca her şey ayarında
C7
Gece kararınca, geride kalanlara
Fm C7
Sesim duyulmaz vurur bak bana da
Bir de baştan ayağa
Fm
Doluyum aşkla nefret arasında
Bıktım aslen alayından
C7
Affet aynı olamam
Yanın anların en yalanı
Fm
Keşke şişede gibi dursa meret
C7
Neden hep bi yalana beni güldürüyor
Fm
Herkese sordum hep hak buluyor
C7
Sana söz bi yanım adına can verecek
Fm
Biri dünya ellerimde
Bbm
Biri dünyam düş yerinde
C7
Yaklaşsan bana rastlaşsak
Fm Bbm
Bi gece aniden ansızın acilen
C7
Yazılı tarihe edası bela misal
Fm Bbm
Yarınlar küsüm bana doğma
C7
Koşsam maratonlar, üstüm yara tonla
Fm Bbm
Aslına varınca her şey ayarında
C7
Gece kararınca, geride kalanlara
Fm
Sil numaramı dönersen inananı
C7
Soğudu yananım bi de seni soranı
Fm C7
Öldürdüm içimde zordu, yaradı yarama
Fm Bbm
Ben anlamam süslü yalanlardan
C7
Düştün gözümden üç bin kez aşağılara
Fm Bbm
Ben anlamam süslü yalanlardan
C7
Düştün gözümden üç bin kez aşağılara
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Berkay Altunyay - Sil Numaramı Tabs
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Harmony analysis
Berkay Altunyay – Sil Numaramı: key and chord analysis
The song opens on Fm and ends on C7. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
- #7 = E (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it opens on Fm, Fm is heard 15 times while Ab never appears and the major V chord points straight at Fm. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 9× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 15× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 15× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 15× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 9× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 15× |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 39 times in total; 2 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C7 is V7/vi, a secondary dominant heading for Fm.
Chord movement
- C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×14
- Bbm C7 Abii → V7/vi Fmiv → V7iv → V ×9
The move to watch is C7 → Fm, heard 14 times. From the Fm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Ab side it reads V7/vi → vi (secondary resolution: C7 resolves a fourth up to Fm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over C7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- When C7 comes, swap the scale's Eb for E: 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. The chords that keep coming back are Fm, C7, Bbm; read them as vi–V7/vi–ii in Ab or i–V7–iv in Fm. C7 is the interesting twist: in Ab it is a chromatic chord (V7/vi), while in Fm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C7 → Fm (V7/vi → vi in Ab, V7 → i in Fm): harmonic-minor cadence — the major V resolves dramatically. The final chord is C7; the ear comes to rest in Ab.
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.
Berkay Altunyay - Sil Numaramı 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: Berkay AltunyayMusic: Berkay AltunyayArrangement: Berkin lll Laleli
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