Levent Yüksel - Sultanım - Chord

Key Eb major – C minor Chords Gm, Ab, Fm, Cm, F, Bb, Eb, D Easy key C (capo 3)

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Capo 0

Gm                      Ab     Fm      Gm
Sultanım, perişanım, ihtiyar oldum senle
Gm                       Ab        Fm      Gm
Ah etmem, feryad etmem, bahtiyar oldum senle

Gm                          Cm          Ab          Fm        Gm
Sor senden sonra gün gördüm mü, fark etmedim yaşadım mı öldüm mü
Gm                Cm           Ab         Fm    Gm
Ben unufak savrulurken, sen ellerde hükmünü sürdün mü

Gm            F         Cm            Gm
Gel uslan da gel artık bende vakit dolmadan
Eb              F           Cm              D
İster günahkar ister olma, gel daha fazla sormadan
Gm
Kulun olayım, kölen olayım

Gm                                          Bb
Dolana dolana  dolaşıyorum mecnun gibi meyhaneleri  
Cm              Ab           Fm      Gm  
Alacağın olsun ah terkettin beni şahaneleri
Gm                                             Bb
Şişelere vurdum hazırola durdum ha geldi ha gelecek
Cm            Ab           Fm       Gm  
Bitmedi tükenmedi civelek yarin bahaneleri

End of song Play again?

Levent Yüksel - Sultanım Tabs

NotesX

Harmony analysis

Levent Yüksel – Sultanım: key and chord analysis

The song opens on Gm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because Cm is heard 6 times against 1 for Eb. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	6×
V/V	F	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	2×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	15×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	6×
V	Bb	Dominant — strongest pull home	Bb · D · F	2×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	6×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	1×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	6×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	1×
III	Eb	Relative major — the bright side	Eb · G · Bb	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	6×
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	2×
v	Gm	Minor dominant — soft pull	G · Bb · D	15×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	6×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	2×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 39 times in total; 6 of them sit naturally inside the shared scale. F, D act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×2

The move to watch is Bb → Cm, heard 2 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. Gm, Ab, Fm, Cm carry the song: iii–IV–ii–vi relative to Eb, v–VI–iv–i relative to Cm. F adds a moment of surprise: secondary dominant V/V — leads to Bb. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. The final chord is Gm; the ear comes to rest in Eb.

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.