Sufle - Sultanlara Su Verdim - Chord

Key D major – B minor Chords Bm7, Gmaj7, F#m7, Em7 Easy key C (capo 2)

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Capo 0

Bm7  Gmaj7  F#m7  Em7
x2

         Bm7
Alışır mıyım senin olmamaya
Gmaj7
Dök dök toplamaya
F#m7
Sersem oldum elinde, aaa

Bm7               Gmaj7
Gün gün eriyorum, son bi direniyorum
F#m7
Susma bari sen söyle

           Gmaj7
Ya ben napıyım, dinmiyor sızım

Ne kışım ne yazım
F#m7             Em7
Yalnız uyuyamadım perişanım

Bm7             Gmaj7                F#m7
Ah o gözlerinde sandım, ki ben farklıyım
              Em7                  Bm7
Sultanlara su verdim, daha ben napıyım

           Bm7
Hiç anlatmayın mutlu hikayeler
Gmaj7              F#m7                 Bm7
Soldu gitti neşem, yeller eser yerinde, aaa

Bm7               Gmaj7
Gün gün eriyorum, son bi direniyorum
F#m7
Susma bari sen söyle

Bm7        Gmaj7
Ya ben napıyım, dinmiyor sızım

Ne kışım ne yazım
F#m7             Em7
Yalnız uyuyamadım perişanım

Bm7             Gmaj7                F#m7
Ah o gözlerinde sandım, ki ben farklıyım
              Em7                  Bm7
Sultanlara su verdim, daha ben napıyım

End of song Play again?

Sufle - Sultanlara Su Verdim Tabs

NotesX

Harmony analysis

Sufle – Sultanlara Su Verdim: key and chord analysis

The song opens on Bm7 and ends on Bm7. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C# (leading tone, pulls home)
4 = G (the note that leans on the 3rd)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the B minor side because it both starts and finishes on Bm and Bm is heard 11 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	5×
iii7	F#m7	Mediant — a tonic-family shade	F# · A · C# · E	9×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	9×
V	A	Dominant — strongest pull home	A · C# · E	—
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	11×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i7	Bm7	Tonic — home	B · D · F# · A	11×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iv7	Em7	Subdominant — moves away from home	E · G · B · D	5×
v7	F#m7	Minor dominant — soft pull	F# · A · C# · E	9×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VImaj7	Gmaj7	Submediant — warm colour	G · B · D · F#	9×
VII	A	Subtonic — steps back to the tonic	A · C# · E	—

Analysis

The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 34 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

Em7 Bm7 Dii7 → vi7 Bmiv7 → i7minor plagal ×5
F#m7 Bm7 Diii7 → vi7 Bmv7 → i7natural-minor cadence ×3

The move to watch is Em7 → Bm7, heard 5 times. From the Bm side it is iv7 → i7 (minor plagal: deep and melancholic); from the D side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Gmaj7, land on G, B, D — the chord's own tones always sound right on strong beats.
Over F#m7, land on F#, A, C# — 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 D major shapes

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on Bm7, the song gives away its key from the very first bar. The chords that keep coming back are Bm7, Gmaj7, F#m7, Em7; read them as vi7–IVmaj7–iii7–ii7 in D or i7–VImaj7–v7–iv7 in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Bm7 (ii7 → vi7 in D, iv7 → i7 in Bm): minor plagal — deep and melancholic. It closes on Bm7, letting the Bm 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.