Sıla - Reverans - Chord

Key Ab major – F minor Chords Cm, Db, Eb, E, Bbm, Fm Easy key C

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Capo 0

Cm  Cm  Cm  Bbm  Db  Db  Db  Bbm  
Cm  Cm  Cm  Bbm  Db  E  Eb  Db  Cm

Cm 
Gidemezsin deme
Db
Ya uçarım ya da yaya
Cm               Db  E  Eb  Db  Cm
Buraları dar geliyor

Cm 
Düğün evi tefçisi
Db
Ölüm evi yasçısı
Cm                Db  E  Eb  Db  Cm
Hâlin beni gasbediyor 

Cm
Önüne gelene eğilip reverans
                Eb     Fm
Bende karşılığı ağır feveran
Cm 
Üzerim seni çocuk, bakmam gözyaşına
                Eb        Fm
Döner bumerang, al sana referans

Cm             Db
Hadi öp yanağımdan barışalım mı
          Cm
Öpme beni öpme
                 Db
Hem hata senin hem kırışalım mı
           Cm
Germe beni germe

Cm
Bir elin verdiğini
Db
Diğeri görmesin
Cm                  Db  E  Eb  Db  Cm
Senin hesap hep şaşıyor

Cm
Düğün evi tefçisi 
Db
Ölüm evi yasçısı 
Cm                 Db  E  Eb  Db  Cm
Hâlin beni gasbediyor

End of song Play again?

Sıla - Reverans Tabs

NotesX

Harmony analysis

Sıla – Reverans: 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.

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)

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 2 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	3×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	24×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	19×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	7×
bVI	E	Borrowed from the parallel minorborrowed chord	E · G# · B	5×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	2×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	2×
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	3×
v	Cm	Minor dominant — soft pull	C · Eb · G	24×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	19×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	7×
#VII	E	Chromatic colour chordoutside the key	E · G# · B	5×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 60 times in total; 5 of them sit naturally inside the shared scale. E is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2

The move to watch is Eb → Fm, heard 2 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 Db, land on Db, F, Ab — 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.
On E, follow the chord's notes (E · G# · B) rather than the key's scale — it's a borrowed colour.

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

Starting on Cm, the song gives away its key from the very first bar. Cm, Db, Eb, E carry the song: iii–IV–V–bVI relative to Ab, v–VI–VII–#VII relative to Fm. E briefly darkens the picture: borrowed from the parallel minor. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. It closes on Cm, letting the Ab 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.