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)
Mehmet Elmas - Canın Sağolsun - Chord
Key Eb major – C minor Chords Cm, Ab, Bb, Gm, Gb Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: Eb | Cm
Capo: 0
Cm Gb Ab Bb
Cm Gm
Bıraktım herşeyi yarım kalsada
Ab Bb Cm
Derdi bana derdin ama olsun canın sağolsun
Cm Gm Ab
Yine gözüm onda düşerim yarı yolda
Bb Cm
Bıraktım acı dolu ne varsa sildim sonunda
Gm Ab
Üstümde kara bulutlar varsın dolu yağsınlar
Bb Cm
Gözyaşıma tek ortaklar yağmurlar
Cm Gm Ab
Beni ele güne rezil edip sormaa
Bb Cm
Bırak oluruna boşa yormaa
Cm Gm
Bıraktım herşeyi yarım kalsada
Ab Bb Cm
Derdi bana derdin ama olsun canın sağolsun
Cm Gm Ab
Beni ele güne rezil edip sormaa
Bb Cm
Bırak oluruna boşa yormaa
End of song Play again?
Mehmet Elmas - Canın Sağolsun Tabs
NotesX
Harmony analysis
Mehmet Elmas – Canın Sağolsun: 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.
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 12 times while Eb never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| bIII | Gb | Borrowed from the parallel minorborrowed chord | Gb · Bb · Db | 1× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 6× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 7× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 7× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 12× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 12× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| #IV | Gb | Chromatic colour chordoutside the key | Gb · Bb · Db | 1× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 6× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 7× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 7× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 33 times in total; 4 of them sit naturally inside the shared scale. Gb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×7
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×7
The move to watch is Bb → Cm, heard 7 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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 Ab, land on Ab, C, Eb — 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 Gb, follow the chord's notes (Gb · Bb · Db) 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, Ab, Bb, Gm carry the song: vi–IV–V–iii relative to Eb, i–VI–VII–v relative to Cm. Gb briefly darkens the picture: borrowed from the parallel minor. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. It closes on Cm, letting the Cm 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.
Mehmet Elmas - Canın Sağolsun 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Mehmet ElmasMusic: Mehmet ElmasArrangement: İlkan Günüç
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.