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)
Sukriye Tutkun - Gücüm Yetene Kadar - Chord
Key Ab major – F minor Chords Cm, Fm, Eb, Db, Bbm, Bbm7 Easy key C
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Key: Ab | Fm
Capo: 0
Cm Fm Eb Bbm Db Db Cm
Cm Fm Cm
Aaaah, güneş burada da var
Fm Cm
Taki batana kadar
Fm Eb Fm
Yildizlar bile parlar
Eb Bbm7 Eb
Şafak atana kadar
Db
Yıldızlar yine parlar
Cm Db Cm
Şafak atana kadar
Cm Fm
Bilsen şimdi nerdeyim
Eb Bbm
Çılgın gecelerdeyim
Db
Uzun bir seferdeyim
Cm Fm
Gücüm yetene kadar
Cm Fm
Goncagüllerim vardı
Eb Bbm
Burcu burcu kokardı
Db
Rengi soldu sarardı
Cm
Sevip tutana kadar
Cm Fm Cm
Aaaah, bir yağmur ki dinmiyor
Fm Cm
Fener söndü yanmıyor
Fm Eb Fm
Yüreğim dayanmıyor
Eb Bbm7 Eb
Hasret bitene kadar
Db
Yüreğim dayanmıyor
Cm Db Cm
Hasret bitene kadar
Cm Fm
Bilsen şimdi nerdeyim
Eb Bbm
Çılgın gecelerdeyim
Db
Uzun bir seferdeyim
Cm Fm
Gücüm yetene kadar
Cm Fm
Goncagüllerim vardı
Eb Bbm
Burcu burcu kokardı
Db
Rengi soldu sarardı
Cm
Sevip tutana kadar
End of song Play again?
Sukriye Tutkun - Gücüm Yetene Kadar Tabs
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Harmony analysis
Sukriye Tutkun – Gücüm Yetene Kadar: key and chord analysis
The song opens on Cm and ends on Cm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because Fm is heard 15 times while Ab never appears. 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 | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 5× |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 2× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 20× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 10× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 11× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 15× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 15× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 5× |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 2× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 20× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 10× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 11× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 63 times in total; 6 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
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×13
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
- Bbm7 Eb Abii7 → Vii → V Fmiv7 → VII ×2
The move to watch is Cm → Fm, heard 13 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 Eb, land on Eb, G, Bb — 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 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 Cm lays a solid floor for everything that follows. The chords that keep coming back are Cm, Fm, Eb, Db; read them as iii–vi–V–IV in Ab or v–i–VII–VI in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. The final chord is Cm; the ear comes to rest in Ab.
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.
Sukriye Tutkun - Gücüm Yetene Kadar 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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