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)
Zeynep Bastık - Sor - Chord
Key Ab major – F minor Chords Cm7, Dbmaj7, Bbm7, Eb, Db, Fm Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Ab | Fm
Capo: 0
Cm7 Bbm7 Cm7 Bbm7
Cm7 Bbm7
Hiçbir şarkı layık değil
Cm7 Bbm7
Hiçbir söz anlatır değil
Cm7 Bbm7
Dünya yansa mümkün değil
Cm7 Bbm7
Bu aşkın son sözü yok ki
Cm7 Bbm7
Biter deme sonu yok ki
Cm7 Bbm7
Senden kalan, senin olan benim değil
Cm7 Db Cm7
Yalan, yalan, yalaaaaan
Bbm7
Dün geç kaldık, bugün erken
Cm7 Db Dbmaj7
Gençlik elden gitti, oldu ziyaaaaaaan
Fm
Sor, gecelerden sor
Dbmaj7
Sor, gündüzlerden sor
Eb Dbmaj7 Cm7
Sor kime istersen, öğrenemezsin
Fm
Sor yaşadığından
Dbmaj7
Sor rüyalarından
Eb Dbmaj7 Cm7
Sor bilenlerden sor, anlatamazlar
Dbmaj7
Sana olan aşkımı canım
Eb
Sana olan hayranlığımı
Dbmaj7 Bbm7
Düşünemezsin nasıl sevdim
Cm7
Çok beterim
Dbmaj7
Başıma bela güzelliğin
Eb
Kaçınamam ki elindeyim
Dbmaj7 Bbm7
Düşünemezsin nasıl sevdim
Cm7
Her şeyden çok
Cm7 Dbmaj7 Eb Dbmaj7 Cm7 Dbmaj7 Eb Dbmaj7 Bbm7 Cm7
Cm7 Dbmaj7
Aşktan ötee bi yerlerde
Cm7 Dbmaj7
Buluştuk senle el ele
Cm7 Dbmaj7 Cm7
Mutlu ya daa mutsuz, boş ver
Dbmaj7 Cm7
Hayat böylee geçer gider
Dbmaj7 Cm7
Senin aşkın bana yeter
Cm7 Bbm7
Kim anlar ki halimizden
Cm7 Db
Sevgi saygı hiç gitmesin bizden
Cm7 Bbm7
Gözümüzden, gönlümüzden
Cm7 Db Dbmaj7
Bir tek huzur geçsin aramızdaaaaaan
End of song Play again?
Zeynep Bastık - Sor Tabs
NotesX
Harmony analysis
Zeynep Bastık – Sor: key and chord analysis
The song opens on Cm7 and ends on Dbmaj7. 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 14× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 28× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 19× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 4× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 6× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 2× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| 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 | — |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 14× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 28× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 19× |
| VI | Db | Submediant — warm colour | Db · F · Ab | 4× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 6× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 73 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
- Dbmaj7 Eb AbIVmaj7 → VIV → V FmVImaj7 → VIIVI → VII ×6
- Dbmaj7 Fm AbIVmaj7 → vi FmVImaj7 → iVI → i ×1
- Cm7 Fm Abiii7 → vi Fmv7 → inatural-minor cadence ×1
The move to watch is Dbmaj7 → Eb, heard 6 times. From the Fm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). 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 Cm7, land on C, Eb, G — 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.
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 Cm7; the ear learns where home is within a second. The chords that keep coming back are Cm7, Dbmaj7, Bbm7, Eb; read them as iii7–IVmaj7–ii7–V in Ab or v7–VImaj7–iv7–VII in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dbmaj7 → Eb (IVmaj7 → V in Ab, VImaj7 → VII in Fm): VI → VII — the rising step that heads for the tonic. The final chord is Dbmaj7; 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.
Zeynep Bastık - Sor 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Yıldız TilbeMusic: Yıldız Tilbe
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.