Sıla - İnandım - Chord

Key Ab major – F minor Chords Abmaj7, Dbmaj7, Bbm7, Fm, C7 Easy key C

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Capo 0

Dbmaj7  Abmaj7  Dbmaj7  Abmaj7

Dbmaj7
 Bugün iyi bi' yerindeyim hayatın
  Abmaj7
Kırılmış olabilirim
                Dbmaj7
Dökülmüş olabilirim

Mevsimlerden kış öncesi bi' baharın
  Abmaj7
Durulmuş olabilirim
               Bbm7
Üzülmüş olabilirim, toplarım

Fm
 İnandım sonuna kadar
Abmaj7   Bbm7    C7
 Demedim gittiği yere kadar
Fm
 Kalk kalk çocuk kalk
Abmaj7    Bbm7     C7
 Yok öyle olduğu kadar
 
Fm
 İnandım sonuna kadar
Abmaj7   Bbm7    C7
 Demedim gittiği yere kadar
Fm
 Kalk kalk çocuk kalk
Abmaj7    Bbm7     C7
 Yok öyle olduğu kadar
 
Dbmaj7      C7  Fm
Olduğu kadaaaaaaar

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Sıla - İnandım Tabs

NotesX

Harmony analysis

Sıla – İnandım: key and chord analysis

The song opens on Dbmaj7 and ends on Fm. 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)
#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 comes to rest on Fm, Ab is heard 8 times against 5 for Fm 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
Imaj7	Abmaj7	Tonic — home	Ab · C · Eb · G	8×
ii7	Bbm7	Supertonic — prepares the dominant	Bb · Db · F · Ab	5×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
V7/vi	C7	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G · Bb	5×
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	5×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi	Fm	Relative minor — the melancholy side	F · Ab · C	5×
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	5×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
IIImaj7	Abmaj7	Relative major — the bright side	Ab · C · Eb · G	8×
iv7	Bbm7	Subdominant — moves away from home	Bb · Db · F · Ab	5×
v	Cm	Minor dominant — soft pull	C · Eb · G	—
V7	C7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G · Bb	5×
VImaj7	Dbmaj7	Submediant — warm colour	Db · F · Ab · C	5×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	—

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 28 times in total; 4 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

C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×4
Dbmaj7 Abmaj7 AbIVmaj7 → Imaj7plagal cadence FmVImaj7 → IIImaj7 ×4
Bbm7 C7 Abii7 → V7/vi Fmiv7 → V7iv → V ×4
Bbm7 Fm Abii7 → vi Fmiv7 → iminor plagal ×1

The move to watch is C7 → Fm, heard 4 times. From the Fm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Ab side it reads V7/vi → vi (secondary resolution: C7 resolves a fourth up to 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 Abmaj7, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Dbmaj7, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
Over Bbm7, 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 first chord is Dbmaj7; the ear learns where home is within a second. The backbone is Abmaj7, Dbmaj7, Bbm7, Fm — Imaj7–IVmaj7–ii7–vi from the Ab side, IIImaj7–VImaj7–iv7–i from the Fm side. 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 C7 → Fm (V7/vi → vi in Ab, V7 → i in Fm): harmonic-minor cadence — the major V resolves dramatically. Ending on Fm, the song seals Fm 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.