Candan Erçetin - Parçalandım - Chord

Key G major – E minor Chords Em, C, Am, B, E, B# Difficulty already in its easiest key

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Capo 0

E
Parçalandım 
Ve her bir parçamı ayrı yere bıraktım 

Em
Birini açık denizlerin en derin yerine attım 
C
Kürek çektim, uzaklaştım, dönüp arkama bakmadım bile 

Em
Birini yüksek dağların zirvesine çıkardım 
C
Hiç kimse kurtarmasın, kurda kuşa yem olsun diye 

Em
Birini hiç unutmadığım o küçük şehirde bıraktım 
C
Dönemedim, kimbilir, belki dönsemde bulamazdım 

Em         Am
Önce savruldum yok oldum 
B              Em
Sonra dinlendim duruldum 
C               Am
Ve her giden parçam yerine 
B
Yenisini doğurdum 

Em            Am
Daha güçlü, daha sakin 
B                 Em
Daha mutlu, daha suskun
C                 Am
Daha olgun, daha kırgın
B
Daha yalnız, daha olgun 



Em Am B Em B# Am B


Em
Parçalandım 
Ve her bir parçamı ayrı yere bıraktım 

Em
Birini tanıdık bir vişne ağacının dibine ektim
C
Sormadım filizlendi mi, sürgün verdi mi 

Em
Birini çok sevdiğim bir dostta unuttum 
C
İstedim, vermedi, meğer benden pek haz etmezmiş 

Em
Birini büyük bir aşk uğruna ateşlere attım
C
Bilerek, isteyerek, ama asla pişman olmadım

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Candan Erçetin - Parçalandım Tabs

NotesX

Harmony analysis

Candan Erçetin – Parçalandım: key and chord analysis

The song opens on E and ends on C. Its chords belong to both G major and Em, so every chord below is read both ways.

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F# (leading tone, pulls home)
4 = C (the note that leans on the 3rd)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)
#7 = D# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because Em is heard 13 times while G never appears and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	6×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	6×
IV	C	Subdominant — moves away from home	C · E · G	8×
IV	B#	Subdominant — moves away from home	B# · E · G	1×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	13×
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	1×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	13×
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	1×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	6×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	6×
VI	C	Submediant — warm colour	C · E · G	8×
VI	B#	Submediant — warm colour	B# · E · G	1×
VII	D	Subtonic — steps back to the tonic	D · F# · A	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 35 times in total; 4 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B is V/vi, a secondary dominant heading for Em. E acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

B Em GV/vi → vi EmV → iharmonic-minor cadence ×6
Am B Gii → V/vi Emiv → Viv → V ×6
C Em GIV → vi EmVI → iVI → i ×5

The move to watch is B → Em, heard 6 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over Em, land on E, G, B — 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.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.

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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is E; the ear learns where home is within a second. The chords that keep coming back are Em, C, Am, B; read them as vi–IV–ii–V/vi in G or i–VI–iv–V in Em. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. It closes on C, letting the G side have the last word.

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.