Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Şebnem Ferah - Can Kırıkları (Tab) - Chord
Key C major – A minor Chords Am, G, Bb, Gm Easy key G (capo 5)
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Key: C | Am
Capo: 0
Riff G Am Bu kalabalığın içinde G Am Yapayalnız hissetmektense G Am Dünyanın bir ucunda G Am Tek başımayım G Am Kir göstermeyen renkleriniz G Am Sizin olsun korkmaktansa G Am Bulanıklığın tam içinde G Am Bir başımayım Am Benim belki de Bb Gm Am Gizli bir bildiğim var Elbette ağlarım Bb Gm Am Benim can kırıklarım var Senin gördüğün Bb Gm Am Yanağımdan süzülenler Asıl içimde Bb Am İçinde yüzdüğüm bir deniz var Şarkının tonu nakaratta Dm-F oluyor
End of song Play again?
Şebnem Ferah - Can Kırıkları (Tab) Tabs
Riff
E-----------------------|-----------------------|-0-|
B-----------------------|---------0-------------|-1-|
G-------0---------------|-------0---------------|-2-|
D---2-3---3-3-2-0-3-2---|---2-3-----3-3-2-0-----|-2-|
A-0-------------------0-|-0-----------------3-0-|-0-|
E-----------------------|-----------------------|---|
Am
NotesX
Harmony analysis
Şebnem Ferah – Can Kırıkları (Tab): key and chord analysis
The song opens on G and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it comes to rest on Am and Am is heard 13 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | 8× |
| v | Gm | Chromatic colour chordoutside the key | G · Bb · D | 3× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 13× |
| bVII | Bb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Bb · D · F | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 13× |
| bII | Bb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Bb · D · F | 4× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 8× |
| vii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 3× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 28 times in total; 2 of them sit naturally inside the shared scale. Bb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×8
The move to watch is G → Am, heard 8 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- On Bb, follow the chord's notes (Bb · D · F) 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on G, the song gives away its key from the very first bar. The backbone is Am, G, Bb, Gm — vi–V–bVII–v from the C side, i–VII–bII–vii from the Am side. Bb briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. It closes on Am, letting the Am 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.
Şebnem Ferah - Can Kırıkları (Tab) 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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