Sezen Aksu - Sultan Süleyman - Chord

Key A major – F# minor Chords Dbm, E, Bm, F#m, D Easy key C

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Capo 0

Dbm            E
Kaç sene oldu, zaman mı durdu
      F#m             E
Deniz öyle hep aynı, dünya bilinmez
D              Dbm
Taş duvar aynı kaldı
F#m                  
Ümit öylece kaldı da
E           D       Dbm
Ümit edeni söyle kim aldı

Dbm              E
Kaç devir geldi, kaç nesil geçti
      F#m            E
Yürek öyle sevdalı yollar kavuşmaz
D               Dbm
Hasretin ne tadı kaldı
F#m         
Sabır öylece kaldı da
E            D       Dbm
Sabredeni söyle kim aldı

Dbm                 Bm       Dbm
Bu dünya ne sana, ne de bana kalmaz
Dbm             Bm        Dbm
Dünya ne sana, ne de bana kalmaz
Bm
Sultan Süleyman'a kalmadı
    Dbm        Bm      Dbm
Böyle hiçbir kitap yazmaz

Dbm               E
Kaç çiçek soldu, hani bu sondu
    F#m               E
Hani bir sarı fırtına koptu zamansız
D               Dbm
Kaç tohum filiz dondu
F#m                     
Hani bir acı yel savurdu
E          D        Dbm
Yürekler son defa vurdu

Dbm                 Bm        Dbm
Bu dünya ne sana, ne de bana kalmaz
Dbm              Bm        Dbm
Dünya ne sana, ne de bana kalmaz
Bm
Sultan Süleyman'a kalmadı
     Dbm       Bm      Dbm
Böyle hiçbir kitap yazmaz

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Sezen Aksu - Sultan Süleyman Tabs

NotesX

Harmony analysis

Sezen Aksu – Sultan Süleyman: key and chord analysis

The song opens on Dbm and ends on Dbm. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F# minor side because F#m is heard 6 times while A never appears. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii	Bm	Supertonic — prepares the dominant	B · D · F#	8×
iii	Dbm	Mediant — a tonic-family shade	Db · Fb · Ab	21×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	6×
V	E	Dominant — strongest pull home	E · G# · B	9×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	6×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	6×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv	Bm	Subdominant — moves away from home	B · D · F#	8×
v	Dbm	Minor dominant — soft pull	Db · Fb · Ab	21×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	6×
VII	E	Subtonic — steps back to the tonic	E · G# · B	9×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 50 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

E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×3
Dbm F#m Aiii → vi F#mv → inatural-minor cadence ×3

The move to watch is E → F#m, heard 3 times. From the F#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the A side it reads V → vi (deceptive cadence: expected A, lands on F#m). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on Dbm, the song gives away its key from the very first bar. The chords that keep coming back are Dbm, E, Bm, F#m; read them as iii–V–ii–vi in A or v–VII–iv–i in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → F#m (V → vi in A, VII → i in F#m): Aeolian arrival — rises a whole tone into home. It closes on Dbm, letting the A 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.