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)
Bahadır Tatlıöz - Su Yolunu Bulur - Chord
Key Ab major – F minor Chords Fm, Bbm, C#, Cm, Eb Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm C#
Fm
Olacak olan bulur
Bbm
Su yolunu bulur
C# Cm
Sen bunlara takılma
Eb
Bir yabancı çıkar da
Bbm
Çarkını bozarsa
Cm Fm
O zaman beni hatırla
Fm C#
Fm Bbm
Dört mevsimi bir gün kadar
C# Cm
Kayıp gider elden zaman
Bbm Fm
Ben masumum kalbim rahat
C#
Allah da var
Fm Bbm
Dilden çıkan bir ok kadar
C# Cm
Acı vermez hiçbir tamam
Bbm Fm
Ben direndim, içim rahat
C#
Allah da var
Fm
Olacak olan bulur
Bbm
Su yolunu bulur
C# Cm
Sen bunlara takılma
Eb
Bir yabancı çıkar da
Bbm
Çarkını bozarsa
Cm Fm
O zaman beni hatırla
Fm Bbm
Dilden çıkan bir ok kadar
C# Cm
Acı vermez hiçbir tamam
Bbm Fm
Ben direndim, içim rahat
C#
Allah da var
Fm Bbm
Ben sana yüzümü döndüm
C# Cm
Her gün ağladım her gün öldüm
Bbm Eb
Kalbimin derdini bilen
Fm
Allah da var
Fm Bbm
Sen mağrur taştan kördün
C# Cm
Gönlün kadar küçük gördün
Eb Bbm
Neyseki herşeyi gören
C#
Allah da var
End of song Play again?
Bahadır Tatlıöz - Su Yolunu Bulur Tabs
NotesX
Harmony analysis
Bahadır Tatlıöz – Su Yolunu Bulur: key and chord analysis
The song opens on Fm and ends on C#. 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 it opens on Fm and Fm is heard 15 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 | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 14× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 9× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | C# | Subdominant — moves away from home | C# · E# · G# | 13× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 4× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 15× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 15× |
| 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 | 14× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 9× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | C# | Submediant — warm colour | C# · E# · G# | 13× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 4× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 55 times in total; 5 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
- C# Fm AbIV → vi FmVI → iVI → i ×5
- Bbm Fm Abii → vi Fmiv → iminor plagal ×3
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×1
- Bbm Eb Abii → Vii → V Fmiv → VII ×1
The move to watch is C# → Fm, heard 5 times. From the Fm side it is VI → i (VI → i: falls a half step into home); from the Ab side it reads IV → 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over C#, land on C#, E#, 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, Bbm, C#, Cm; read them as vi–ii–IV–iii in Ab or i–iv–VI–v in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C# → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. Ending on C#, 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.
Bahadır Tatlıöz - Su Yolunu Bulur 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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