Mabel Matiz - Sultan Süleyman - Chord

Key Eb major – C minor Chords Gm, A#, Fm, Cm, G# Easy key C (capo 3)

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Capo 0

Gm             A#
Kaç sene oldu, zaman mı durdu
      Cm              A#
Deniz öyle hep aynı, dünya bilinmez
G#             Gm
Taş duvar aynı kaldı
Cm                   
Ümit öylece kaldı da
A#          G#      Gm
Ümit edeni söyle kim aldı

Gm               A#
Kaç devir geldi, kaç nesil geçti
      Cm             A#
Yürek öyle sevdalı yollar kavuşmaz
G#              Gm
Hasretin ne tadı kaldı
Cm          
Sabır öylece kaldı da
A#           G#      Gm
Sabredeni söyle kim aldı

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

Gm                A#
Kaç çiçek soldu, hani bu sondu
    Cm                A#
Hani bir sarı fırtına koptu zamansız
G#              Gm
Kaç tohum filiz dondu
Cm                      
Hani bir acı yel savurdu
A#         G#       Gm
Yürekler son defa vurdu

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

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Mabel Matiz - Sultan Süleyman Tabs

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Harmony analysis

Mabel Matiz – Sultan Süleyman: 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.

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)

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 while Eb never appears. 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	8×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	21×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	6×
V	A#	Dominant — strongest pull home	A# · D · E#	9×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	6×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

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

Analysis

The key pair is Eb major and its relative C minor (3 flats). 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

A# Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3

The move to watch is A# → Cm, heard 3 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 A#, land on A#, D, E# — 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. The chords that keep coming back are Gm, A#, Fm, Cm; read them as iii–V–ii–vi in Eb or v–VII–iv–i in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A# → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. It closes on Gm, letting the Eb 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.