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)
Levent Yüksel - Sultanım - Chord
Key Eb major – C minor Chords Gm, Ab, Fm, Cm, F, Bb, Eb, D Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Gm Ab Fm Gm Sultanım, perişanım, ihtiyar oldum senle Gm Ab Fm Gm Ah etmem, feryad etmem, bahtiyar oldum senle Gm Cm Ab Fm Gm Sor senden sonra gün gördüm mü, fark etmedim yaşadım mı öldüm mü Gm Cm Ab Fm Gm Ben unufak savrulurken, sen ellerde hükmünü sürdün mü Gm F Cm Gm Gel uslan da gel artık bende vakit dolmadan Eb F Cm D İster günahkar ister olma, gel daha fazla sormadan Gm Kulun olayım, kölen olayım Gm Bb Dolana dolana dolaşıyorum mecnun gibi meyhaneleri Cm Ab Fm Gm Alacağın olsun ah terkettin beni şahaneleri Gm Bb Şişelere vurdum hazırola durdum ha geldi ha gelecek Cm Ab Fm Gm Bitmedi tükenmedi civelek yarin bahaneleri
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Levent Yüksel - Sultanım Tabs
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Harmony analysis
Levent Yüksel – Sultanım: key and chord analysis
The song opens on Gm and ends on Gm. 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 Cm is heard 6 times against 1 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 | 1× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 6× |
| V/V | F | Secondary dominant V/V — leads to Bbsecondary dominant | F · A · C | 2× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 15× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 6× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 2× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 6× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| V/iii | D | Secondary dominant V/iii — leads to Gmsecondary dominant | D · F# · A | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 6× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| V/v | D | Secondary dominant V/v — leads to Gmsecondary dominant | D · F# · A | 1× |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 1× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 6× |
| IV | F | Major IV — Dorian / melodic-minor colourmodal colour | F · A · C | 2× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 15× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 6× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 2× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 39 times in total; 6 of them sit naturally inside the shared scale. F, D act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×2
The move to watch is Bb → Cm, heard 2 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — 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.
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
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. Gm, Ab, Fm, Cm carry the song: iii–IV–ii–vi relative to Eb, v–VI–iv–i relative to Cm. F adds a moment of surprise: secondary dominant V/V — leads to Bb. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. The final chord is Gm; the ear comes to rest in Eb.
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.
Levent Yüksel - Sultanım 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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