Teoman - Soluk Soluğa - Chord

Key Ab major – F minor Chords Fm, Db, Cm, Eb, Em Easy key G (capo 1)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Fm  Em  Db  Cm

Fm
Konuşacağım uyusan da
Eb
Tek bir kelime bile duymasan da
Db
Biterken bir zamanlar
Cm
Çok sevdiğimiz bu hikaye

Fm
Dokunuyorum ellerine
Eb
Aralanmış bacaklarına
Db
Eğilip ıslak ağzına
Cm
Ağzımı dayıyorum son kez

  Fm      Eb    Db      Cm
Soluk soluğa, soluk soluğa

Fm
Saçların darmadağın
Eb
İç çamaşırların odaya saçılmış
Db
Dün ağladıktan sonra
Cm
Makyajın yastığına akmış

Fm
Uyandırmadan seni
Eb
Sıyırıp üstünden her şeyi
Db
Terden ıslak vücudumu
Cm
Vücuduna dayıyorum son kez

  Fm      Eb    Db      Cm
Soluk soluğa, soluk soluğa

Fm
Artık çok üzmüyor beni
Eb
Hiçbir şey hissetmiyorum hatta
Db
Birkaç anı sadece onlar da
Cm
Silinir nasılsa, zamanla

Fm
Bırakmıştım uzun zamandır
Eb
Ama ihtiyacım var şu anda
Db
Bazen bir içki şişesi
Cm
Yaşam destek ünitesi

Fm
Bu kez gerçekten giderken
Eb
Gerçekten terk ederken
Db
Sana kapıyı çekerken
Cm
Uzun uzun bakıyorum son kez

  Fm      Eb    Db      Cm
Soluk soluğa, soluk soluğa

End of song Play again?

Teoman - Soluk Soluğa Tabs

NotesX

Harmony analysis

Teoman – Soluk Soluğa: key and chord analysis

The song opens on Fm 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 it opens on Fm and Fm is heard 11 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	—
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	11×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	11×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	10×
bvi	Em	Chromatic colour chordoutside the key	E · G · B	1×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	11×
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	11×
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	—
v	Cm	Minor dominant — soft pull	C · Eb · G	11×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	11×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	10×
#vii	Em	Chromatic colour chordoutside the key	E · G · B	1×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 44 times in total; 4 of them sit naturally inside the shared scale. Em step outside the scale as colour chords.

Chord movement

Cm Fm Abiii → vi Fmv → inatural-minor cadence ×10

The move to watch is Cm → Fm, heard 10 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 Fm, land on F, Ab, C — 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 Cm, land on C, Eb, G — 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

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. The chords that keep coming back are Fm, Db, Cm, Eb; read them as vi–IV–iii–V in Ab or i–VI–v–VII 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. Ending on Cm, the song seals Ab 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.