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 Sağlam - Sınırımız Gökyüzü - Chord
Key Ab major – F minor Chords Fm, Bbm, Eb Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Bbm Fm
Yüreğine sor beni başka yerde arama
Eb Fm
İnan oradayım en kuytuda
Bbm Fm
Gözlerine sor beni yanılmazlar asla
Eb Fm
Gördüğün yerde sarıl bana
Fm Bbm Eb Fm
Fm
Yokluğuna alıştım dediğim kaç yıl oldu
Bbm Fm
Hala neden takvimler tutuyorum
Sende her şey aynı mı hiç bana ağladın mı
Bbm Fm
Yoksa bunu bir ben mi yaşıyorum
Bbm Fm
Dizlerine dağılsam yine kirpiklerinden
Eb Fm
Köprüler kursam kör aşıklara
Bbm Fm
Sınırımız gökyüzü ben böyle sevdikçe
Eb Fm
Şarkılar susmaz dudaklarımda
Bbm Fm
Yüreğine sor beni başka yerde arama
Eb Fm
İnan oradayım en kuytuda
Bbm Fm
Gözlerine sor beni yanılmazlar asla
Eb Fm
Gördüğün yerde sarıl bana
Bbm Fm
Ellerine sor beni bensizlikten korkma
Eb Fm
Bak buradayım avuçlarında
Bbm Fm
Gözyaşına sor beni içinden ağlama
Eb Fm
Gördüğün yerde sarıl bana
End of song Play again?
Bahadır Sağlam - Sınırımız Gökyüzü Tabs
NotesX
Harmony analysis
Bahadır Sağlam – Sınırımız Gökyüzü: key and chord analysis
The song opens on Bbm and ends on Fm. 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 comes to rest on Fm and Fm is heard 21 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 | 11× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| 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 | Eb | Dominant — strongest pull home | Eb · G · Bb | 9× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 21× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 21× |
| 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 | 11× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| 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 | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 9× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 41 times in total; 3 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
- Bbm Fm Abii → vi Fmiv → iminor plagal ×10
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×9
- Bbm Eb Abii → Vii → V Fmiv → VII ×1
The move to watch is Bbm → Fm, heard 10 times. From the Fm side it is iv → i (minor plagal: deep and melancholic); from the Ab side it reads ii → 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 Eb, land on Eb, G, Bb — 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 first chord is Bbm; the ear learns where home is within a second. The chords that keep coming back are Fm, Bbm, Eb; read them as vi–ii–V in Ab or i–iv–VII in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. The final chord is Fm; the ear comes to rest in Fm.
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 Sağlam - Sınırımız Gökyüzü 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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