Sıla - Can Dostum - Chord

Key Db major – Bb minor Chords Fm, Ab, Gb, Ebm7, Gm, Bb, Bbm, Cm Easy key C (capo 1)

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Capo 0

Fm  Gm  Ab  Bb  Cm

Fm         Gm         Ab
Ah can dostum biliyor musun
              Bb           Fm
Hiçbir şey bilmiyormuşum meğer
        Gm          Ab
Mürekkeple ben bir olursam
      Bb         Bbm
Giderilir sandım keder
     Gb            Fm
İlk değil bu son değil
Gb     Fm      Gb     Fm
Yanmıştım olmasaydın eğer
 
     Ebm7                Fm             Ebm7
Daha köz içim ben bilemedim söz geçiremedim
                        Ab                   Ebm7
Duy unut hiç söylemedim unutamıyorum ah denedim 

Fm   Gm         Ab
Boşluğa bağırıyorum
       Bb           Fm
Olanca kuvvetimle boşluğa
     Gm            Ab
Kimsesiz mağaralar gibi
    Bb               Bbm
Duruyorum ormanın ortasında
     Gb            Fm
İlk değil bu son değil
Gb     Fm      Gb     Fm
Yanmıştım olmasaydın eğer

     Ebm7                Fm             Ebm7
Daha köz içim ben bilemedim söz geçiremedim
                        Ab                   Ebm7
Duy unut hiç söylemedim unutamıyorum ah denedim

End of song Play again?

Sıla - Can Dostum Tabs

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Harmony analysis

Sıla – Can Dostum: key and chord analysis

The song opens on Fm and ends on Ebm7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 2 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii7	Ebm7	Supertonic — prepares the dominant	Eb · Gb · Bb · Db	6×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	13×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	6×
#iv	Gm	Chromatic colour chordoutside the key	G · Bb · D	5×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	7×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	2×
V/ii	Bb	Secondary dominant V/ii — leads to Ebmsecondary dominant	Bb · D · F	5×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	2×
V/iv	Bb	Secondary dominant V/iv — leads to Ebmsecondary dominant	Bb · D · F	5×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
ii	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
III	Db	Relative major — the bright side	Db · F · Ab	—
iv7	Ebm7	Subdominant — moves away from home	Eb · Gb · Bb · Db	6×
v	Fm	Minor dominant — soft pull	F · Ab · C	13×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	6×
#vi	Gm	Chromatic colour chordoutside the key	G · Bb · D	5×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	7×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 8 different chords appear 45 times in total; 5 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Ebm7 Ab Dbii7 → Vii → V Bbmiv7 → VII ×2

The move to watch is Ebm7 → Ab, heard 2 times. From the Bbm side it is iv7 → VII; from the Db side it reads ii7 → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
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.
Over Gb, land on Gb, Bb, Db — 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The first chord is Fm; the ear learns where home is within a second. Fm, Ab, Gb, Ebm7 carry the song: iii–V–IV–ii7 relative to Db, v–VII–VI–iv7 relative to Bbm. Bb adds a moment of surprise: secondary dominant V/ii — leads to Ebm. Keep an ear on Ebm7 → Ab (ii7 → V in Db, iv7 → VII in Bbm): ii → V — the classic preparation of the dominant. Ending on Ebm7, the song seals Db 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.