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)
Gülben Ergen - Şıkır Şıkır (Mustafa Sandal) - Chord
Key Ab major – F minor Chords Cm, Fm, Bbm, Db, Eb, Ab, C7 Easy key C
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Key: Ab | Fm
Capo: 0
Fm Cm Fm Cm Fm Cm Bbm Cm
Fm Cm Fm Cm Db
Nerdeyiz şimdi bak, ne kadar uzak, tahmin bile etme bırak
Eb Ab Cm
Sadece çevirme gözlerini
Fm Cm Fm Cm Db
Bir tebessüm bile yetecek inan, kalplerimiz sürükleniyor
Eb Ab Cm
Farkında değilsen hiç olma
Bbm Cm
Ne aşklar gördü bu sahil, ne fırtınalara şahit
Bbm C7
Vazgeçmişken çıktın karanlıktan
Fm Cm Fm Cm
Çaktı gözleri aman ışıl, ışıl, tam yerinde yıldızlar şıkır, şıkır
Fm Cm Bbm Cm
Bütün alevler aşkımın şerefine, sönüp giden senden bilsin
Fm Cm Fm Cm
İçimde bir tebessüm ah kıpır, kıpır, işliyor ya kalbime tıkır, tıkır
Fm Cm Bbm Cm
Bütün alevler aşkımın şerefine, sönüp giden senden bilsin
Db Cm
Ne aşklar gördü bu sahil, ne fırtınalara şahit
Bbm C7
Vazgeçmişken çıktın karanlıktan
End of song Play again?
Gülben Ergen - Şıkır Şıkır (Mustafa Sandal) Tabs
NotesX
Harmony analysis
Gülben Ergen – Şıkır Şıkır (Mustafa Sandal): 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 13 times against 2 for Ab 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 | 2× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 6× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 20× |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 2× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 3× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 2× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 13× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 13× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 2× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 6× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 20× |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 2× |
| VI | Db | Submediant — warm colour | Db · F · Ab | 3× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 2× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 48 times in total; 6 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
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×11
- Eb Ab AbV → Iauthentic cadence FmVII → III ×2
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
- Bbm C7 Abii → V7/vi Fmiv → V7iv → V ×2
- C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×1
The move to watch is Cm → Fm, heard 11 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — 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 opening Fm lays a solid floor for everything that follows. Cm, Fm, Bbm, Db carry the song: iii–vi–ii–IV relative to Ab, v–i–iv–VI relative to 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 Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. Ending on C7, the song seals Ab 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.
Gülben Ergen - Şıkır Şıkır (Mustafa Sandal) 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: Mustafa SandalMusic: Amr Mostafa
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