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)
Salman Tin - Can İzi - Chord
Key Ab major – F minor Chords Cm7, Dbmaj7, Fm, Eb, Bbm7 Easy key C
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Key: Ab | Fm
Capo: 0
Fm Eb Boşluğun daha çook yakacak Dbmaj7 Cm7 Bulutların gelişinden belli Fm Eb Sanki sen hep vardıın, hep olacaksın Dbmaj7 Cm7 Dünyanın doğuşundan beri Dbmaj7 Cm7 Dünyamı yıkışından belli Fm Eb Cm7 Durur orda hayalin bir heykel gibi Dbmaj7 Cm7 Silsem de albümleri geçmiyor hissi Dbmaj7 Cm7 Karalar da bağlasam, aşkım hiç yorulmaz Bbm7 Cm7 Değişti mevsimler kaldı can izi Dbmaj7 Cm7 Bbm7 Cm7 Fm Eb Boşluğun daha çook yakacak Dbmaj7 Cm7 Bulutların gelişinden belli Fm Eb Sanki sen hep vardıın, hep olacaksın Dbmaj7 Cm7 Dünyanın doğuşundan beri Dbmaj7 Cm7 Dünyamı yıkışından belli Fm Eb Cm7 Durur orda hayalin bir heykel gibi Dbmaj7 Cm7 Silsem de albümleri geçmiyor hissi Dbmaj7 Cm7 Karalar da bağlasam, aşkım hiç yorulmaz Bbm7 Cm7 Değişti mevsimler kaldı can izi
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Salman Tin - Can İzi Tabs
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Harmony analysis
Salman Tin – Can İzi: key and chord analysis
The song opens on Fm and ends on Cm7. 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 opens on Fm and Fm is heard 6 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 | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 3× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 16× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 11× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 6× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 6× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 6× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 3× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 16× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 11× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 6× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 42 times in total; 5 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
- Cm7 Fm Abiii7 → vi Fmv7 → inatural-minor cadence ×5
The move to watch is Cm7 → Fm, heard 5 times. From the Fm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii7 → 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Dbmaj7, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — 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
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Fm lays a solid floor for everything that follows. The backbone is Cm7, Dbmaj7, Fm, Eb — iii7–IVmaj7–vi–V from the Ab side, v7–VImaj7–i–VII from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Fm (iii7 → vi in Ab, v7 → i in Fm): natural-minor cadence — gentle, modal arrival. Ending on Cm7, the song seals Ab 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.
Salman Tin - Can İzi 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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Lyrics: Salman TinMusic: Salman TinArrangement: Kerem Akdağ, Eren Erdol
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