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)
Sezen Aksu - Sorma - Chord
Key Eb major – C minor Chords Cm, Bb, Abmaj7, Fm, Eb, F Easy key G
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Key: Eb | Cm
Capo: 0
Cm F Fm Cm Gün ağarınca boynum bükülür Abmaj7 Bb Abmaj7 Cm Dalarım uzaklara gönlüm sıkılır Fm Eb Fm Eb Bb Eb Soorma ne hâldeyim soorma kederdeyim Bb Abmaj7 Bb Cm F Soorma yangınlardayım zaman zaman Fm Eb Fm Eb Bb Eb Soorma utanırım, soorma söyleyemem Bb Abmaj7 Bb Cm Sorma nöbetlerdeyim başım duman Cm F Cm Ah bu yangın beni öldürüyor yavaş yavaş Abmaj7 Eb Abmaj7 Cm Kor kor ateşler yanıyor içimde Fm Cm Aşk beni kül ediyor Fm Cm Bb Abmaj7 Kor kor ateşler yanıyor içimde Cm Bb Cm Aşk beni kül ediyor Cm F Fm Cm Gün ağarınca boynum bükülür Abmaj7 Bb Abmaj7 Cm Dalarım uzaklara gönlüm sıkılır
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Sezen Aksu - Sorma Tabs
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Harmony analysis
Sezen Aksu – Sorma: key and chord analysis
The song opens on Cm and ends on Cm. 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 it both starts and finishes on Cm and Cm is heard 15 times against 7 for Eb. 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 | 7× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 8× |
| V/V | F | Secondary dominant V/V — leads to Bbsecondary dominant | F · A · C | 4× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| 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 | 9× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 10× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 15× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 15× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 7× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 8× |
| IV | F | Major IV — Dorian / melodic-minor colourmodal colour | F · A · C | 4× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| 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 | 9× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 10× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 53 times in total; 5 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Fm Cm Ebii → vi Cmiv → iminor plagal ×4
- Abmaj7 Bb EbIVmaj7 → VIV → V CmVImaj7 → VIIVI → VII ×4
- Abmaj7 Cm EbIVmaj7 → vi CmVImaj7 → iVI → i ×4
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
- Bb Eb EbV → Iauthentic cadence CmVII → III ×2
- Abmaj7 Eb EbIVmaj7 → Iplagal cadence CmVImaj7 → III ×1
The move to watch is Fm → Cm, heard 4 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — 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.
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
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Cm, Bb, Abmaj7, Fm; read them as vi–V–IVmaj7–ii in Eb or i–VII–VImaj7–iv in Cm. F adds a moment of surprise: secondary dominant V/V — leads to Bb. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. Ending on Cm, the song seals Cm 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.
Sezen Aksu - Sorma 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: Sezen AksuMusic: Sezen AksuArrangement: Aytuğ Yargıç
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