Aydilge - Sorma - Chord

Key Eb major – C minor Chords Cm, Fm, Ab, Gm, Bb, Eb, E, D Easy key G

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Capo 0

Cm        Fm          Cm
Gün ağarınca boynum bükülür
Ab               Gm        Cm
Dalarım uzaklara gönlüm sıkılır

Fm
Sorma ne haldeyim
Cm     Bb
Sorma kederdeyim
Ab     Gm       Cm          Fm
Sorma yangınlardayım zaman zaman
Fm
Sorma utanırım
Cm       Bb
Sorma söyleyemem 
Ab      Gm      Cm
Sorma nöbetlerdeyim başım duman

Fm                     Cm          Fm
Ah bu yangın beni öldürüyor yavaş yavaş
Fm       Bb        Eb     Ab
Kor kor ateşler yanıyor içimde
Fm         Bb    Eb   E
Aşkı beni kül ediyor
Fm       Eb          D     Cm
Kor kor ateşler yanıyor içimde
Ab          Gm    Cm
Aşkı beni kül ediyor

End of song Play again?

Aydilge - Sorma Tabs

NotesX

Harmony analysis

Aydilge – Sorma: key and chord analysis

The song opens on Cm and ends on Cm. 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 it both starts and finishes on Cm and Cm is heard 10 times against 3 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	3×
bII	E	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	E · G# · B	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	9×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	4×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	5×
V	Bb	Dominant — strongest pull home	Bb · D · F	4×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	10×
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	10×
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	3×
#III	E	Chromatic colour chordoutside the key	E · G# · B	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	9×
v	Gm	Minor dominant — soft pull	G · Bb · D	4×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	5×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	4×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 37 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key. E is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Fm Cm Ebii → vi Cmiv → iminor plagal ×4
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×4
Bb Eb EbV → Iauthentic cadence CmVII → III ×2
Fm Bb Ebii → Vii → V Cmiv → VII ×2

The move to watch is Fm → Cm, heard 4 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → vi. 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 Cm, land on C, Eb, G — 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.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
On E, follow the chord's notes (E · G# · B) rather than the key's scale — it's a borrowed colour.

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

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

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. Cm, Fm, Ab, Gm carry the song: vi–ii–IV–iii relative to Eb, i–iv–VI–v relative to Cm. D adds a moment of surprise: secondary dominant V/iii — leads to Gm. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. The final chord is Cm; the ear comes to rest in Cm.

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.