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)
Rukiye Aykanat - Mavili Sanduğumi - Chord
Key Ab major – F minor Chords Cm7, A#m7, Fm, D#, A#m Easy key C
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Key: Ab | Fm
Capo: 0
Cm7 Mavili sanduğumi, kul bilmez yanduğumi Fm A#m7 D# A#m7 Cm7 Dağlar taşlar dayanmaz benum dayanduğumi Cm7 A#m7 Cm7 Kurudi da akmayi gözlerumun yaşlari Fm A#m7 D# Cm7 Dert benum yüreğume oldi kale duvari Cm7 Duman gelur dereden, ben nerden geleceğum Fm A#m D# A#m7 Cm7 Alem ecelden ölür ben dertten öleceğum Cm7 A#m7 Cm7 Kurudi da akmayi gözlerumun yaşlari Fm A#m7 D# Cm7 Dert benum yureğume oldi kale duvari Cm7 Acep gelur mi bilmem, yaylalarun zamani Fm A#m D# Cm7 Saklasun yaşlarumi o dağlarun dumani Cm7 A#m7 Cm7 Kurudi da akmayi gözlerumun yaşlari Fm A#m7 D# Cm7 Dert benum yureğume oldi kale duvari
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Rukiye Aykanat - Mavili Sanduğumi Tabs
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Harmony analysis
Rukiye Aykanat – Mavili Sanduğumi: key and chord analysis
The song opens on Cm7 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because Fm is heard 6 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 | A#m7 | Supertonic — prepares the dominant | A# · C# · E# · G# | 9× |
| ii | A#m | Supertonic — prepares the dominant | A# · C# · E# | 2× |
| 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 | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | D# | Dominant — strongest pull home | D# · G · A# | 6× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 6× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 6× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv7 | A#m7 | Subdominant — moves away from home | A# · C# · E# · G# | 9× |
| iv | A#m | Subdominant — moves away from home | A# · C# · E# | 2× |
| 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 | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | D# | Subtonic — steps back to the tonic | D# · G · A# | 6× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 38 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
- Cm7 Fm Abiii7 → vi Fmv7 → inatural-minor cadence ×6
- A#m7 D# Abii7 → Vii → V Fmiv7 → VII ×4
- A#m D# Abii → Vii → V Fmiv → VII ×2
The move to watch is Cm7 → Fm, heard 6 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 A#m7, land on A#, C#, E# — 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 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
Starting on Cm7, the song gives away its key from the very first bar. The chords that keep coming back are Cm7, A#m7, Fm, D#; read them as iii7–ii7–vi–V in Ab or v7–iv7–i–VII in 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. 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.
Rukiye Aykanat - Mavili Sanduğumi 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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