Can Kazaz - Bunca Yıl - Chord

Key Eb major – C minor Chords Cm, Fm, Bb, G#, D#m, C#, B, G#m Easy key G

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Capo 0

Cm                      G#             Fm          Cm
Maviler saçına düşer, toprağı kanatır budanır kanatların
Bb                    Fm               Cm
Anlaşılmaz bunca yıl nasıl, rüzgara kapıldığın
                        G#              Fm            Cm
Aşk benim tenimi çalıp, korkağı yaratır, ıslanır yanaklarım
Bb                    Fm               Cm
Anlaşılmaz bunca yıl nasıl, nehrine kapıldığım

Cm
Bunca yıl sen
Cm                         G#
Yaprak gibi dökül kadehe, uyku gibi dökül gözümden
Bb            Fm                      Bb    Cm
Su gibi yaşa, kar gibi yağ, dağ gibi kaç benden

Cm                    G#                Fm            Cm
Ağlasam gücüne gider kol geren limanın, uzanır halatlarım
Bb                    Fm               Cm
Anlaşılmaz bunca yıl nasıl, diplere batmadığım
Cm                       G#               Fm           Cm
Ağrılar şekeri olur kor gibi acının, kül olur soğukların
Bb                    Fm              Cm
Anlaşılmaz bunca yıl nasıl, güneşe aldandığın

Fm       Bb     Cm          Fm         Bb       Cm
Yaşamaksızın dünya halini, nedir bu yıldızlara merakın
         Fm      Bb    Cm               G#       Fm                   Bb         
Adını bilmeden meşhur dip sahafların, solu tozunu soluk sayfa dolu rafların

D#m                       B
Yaprak gibi dökül kadehe, uyku gibi dökül gözümden
C#            G#m                     C#     D#m
Su gibi yaşa, kar gibi yağ, dağ gibi kaç benden

End of song Play again?

Can Kazaz - Bunca Yıl Tabs

NotesX

Harmony analysis

Can Kazaz – Bunca Yıl: key and chord analysis

The song opens on Cm and ends on D#m. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

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)

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 opens on Cm and Cm is heard 17 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
i	D#m	Chromatic colour chordoutside the key	D# · F# · A#	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	13×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	G#	Subdominant — moves away from home	G# · B# · D#	6×
iv	G#m	Minor iv — borrowed from the parallel minorborrowed chord	G# · B · D#	1×
V	Bb	Dominant — strongest pull home	Bb · D · F	10×
bVI	B	Borrowed from the parallel minorborrowed chord	B · D# · F#	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	17×
bVII	C#	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C# · E# · G#	2×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	17×
bII	C#	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C# · E# · G#	2×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iii	D#m	Chromatic colour chordoutside the key	D# · F# · A#	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	13×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	G#	Submediant — warm colour	G# · B# · D#	6×
vi	G#m	Chromatic colour chordoutside the key	G# · B · D#	1×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	10×
#VII	B	Chromatic colour chordoutside the key	B · D# · F#	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 52 times in total; 4 of them sit naturally inside the shared scale. C#, B, G#m are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Fm Cm Ebii → vi Cmiv → iminor plagal ×8
Fm Bb Ebii → Vii → V Cmiv → VII ×5
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×4
G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×1

The move to watch is Fm → Cm, heard 8 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → vi. 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 Fm, land on F, Ab, C — 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 C#, follow the chord's notes (C# · E# · G#) 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
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Cm, Fm, Bb, G#; read them as vi–ii–V–IV in Eb or i–iv–VII–VI in Cm. C# briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. The final chord is D#m; the ear comes to rest in Eb.

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.