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)
Halil Sezai - Fırtına - Chord
Key Ab major – F minor Chords Cm7, Fm7, Bbm7, C7 Easy key C
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Key: Ab | Fm
Capo: 0
Fm7 Cm7 Bbm7 Cm7 C7 Fm7
Fm7
Kendimi kapattım kafeslere
Cm7
Sus, nedenini sorma
Fm7
Üşüdüm biraz bu hainlikte
Cm7
Git, fikrimi sorma
Bbm7 Cm7
Kendini yorma, sakın dokunma
Fm7
Dipsiz kuyularda bir şeyler aradım
Cm7
Dur, adını sorma
Fm7
Bir çığlık duydum çok uzaklardan
Cm7
Sakın korkutma
Bbm7 Cm7
Ağlarım sanma, boğulmam korkma
Fm7
Geçmişimi kül etsem
Cm7
Durup durup küfretsem
Bbm7
Tanrı'ya isyan etsem de
Cm7
Bitmez ki bu
Fm7
Ben bu şehri terk etsem
Cm7
Ölüp ölüp dirilsem
Bbm7
Dünyalara hükmetsem de
Cm7
Bitmez ki bu, fırtına
End of song Play again?
Halil Sezai - Fırtına Tabs
NotesX
Harmony analysis
Halil Sezai – Fırtına: key and chord analysis
The song opens on Fm7 and ends on Cm7. 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)
- #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 opens on Fm, Fm is heard 8 times while Ab never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 5× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 12× |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 1× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 8× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 8× |
| 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 | 5× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 12× |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 1× |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| 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 26 times in total; 3 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
- Cm7 Fm7 Abiii7 → vi7 Fmv7 → i7natural-minor cadence ×5
- C7 Fm7 AbV7/vi → vi7secondary resolution FmV7 → i7harmonic-minor cadence ×1
The move to watch is Cm7 → Fm7, heard 5 times. From the Fm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii7 → vi7. 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 Fm7, land on F, Ab, C — 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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Fm7 lays a solid floor for everything that follows. The chords that keep coming back are Cm7, Fm7, Bbm7, C7; read them as iii7–vi7–ii7–V7/vi in Ab or v7–i7–iv7–V7 in Fm. 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 Cm7 → Fm7 (iii7 → vi7 in Ab, v7 → i7 in Fm): natural-minor cadence — gentle, modal arrival. Ending on Cm7, 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.
Halil Sezai - Fırtına 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.
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Lyrics: Halil SezaiMusic: Halil SezaiArrangement: Göksun Çavdar
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