Sıla - Suskun - Chord

Key Ab major – F minor Chords Cm7, Dbmaj7, Bbm7, Fm Easy key C

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Capo 0

Dbmaj7  Cm7  Bbm7  Cm7  Dbmaj7  Cm7

Cm7
Sabaha selam olsun
Dbmaj7
Güneşe çaktırmam sandım
Bbm7                  Cm7
Tanıyor beni, kalbimi heceler

Cm7
Dostuma selam olsun
Dbmaj7
El pençe divan durdu seneler
Bbm7            Cm7
Hatıra geceleri ebeler

Fm                       Dbmaj7
Nehirler akan koca dağın adını
                Cm7
Masallara verme adımı

Deme suskun koy
Bbm7
Ben olayım isim anası

Dbmaj7
Bozgunundan, zorundan
Cm7
Kuzgunundan korundan
Bbm7
Viran et, en darından
    Cm7
Korkmam artık

Cm7                 Dbmaj7
Bana sor paramparça içimi
           Bbm7
Paramparça sözümü
                Cm7
Dökülmez sandım yükümü

Fm                       Dbmaj7
Nehirler akan koca dağın adını
                Cm7
Masallara verme adımı

Deme suskun koy
Bbm7
Ben olayım isim anası

Dbmaj7
Bozgunundan, zorundan
Cm7
Kuzgunundan korundan
Bbm7
Viran et, en darından
    Cm7
Korkmam artık

End of song Play again?

Sıla - Suskun Tabs

NotesX

Harmony analysis

Sıla – Suskun: key and chord analysis

The song opens on Dbmaj7 and ends on Cm7. 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	—
ii7	Bbm7	Supertonic — prepares the dominant	Bb · Db · F · Ab	8×
iii7	Cm7	Mediant — a tonic-family shade	C · Eb · G · Bb	15×
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	9×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
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	—
iv7	Bbm7	Subdominant — moves away from home	Bb · Db · F · Ab	8×
v7	Cm7	Minor dominant — soft pull	C · Eb · G · Bb	15×
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	9×
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). 4 different chords appear 34 times in total; 4 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

Cm7 Fm Abiii7 → vi Fmv7 → inatural-minor cadence ×2

The move to watch is Cm7 → Fm, heard 2 times. From the Fm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii7 → 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 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 Dbmaj7; the ear learns where home is within a second. Cm7, Dbmaj7, Bbm7, Fm carry the song: iii7–IVmaj7–ii7–vi relative to Ab, v7–VImaj7–iv7–i relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Fm (iii7 → vi in Ab, v7 → i in Fm): natural-minor cadence — gentle, modal arrival. The final chord is Cm7; 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.