Tan Taşçı - Nasıl Seveceğim - Chord

Key Eb major – C minor Chords Gm, Cm, Fm, Ab, Bb Easy key C (capo 3)

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Capo 0

Cm                    Gm
Ne kadar çok uzakta olsan da
Cm                    Gm
Perdene değen rüzgarı bilicem
                        Fm
Ellerinle sağladığın yaralarımı sen dağla
         Gm           Fm         Gm
Nasıl inanıcam sevdana, kime sarılıcam

Cm                          Gm
Şimdi bir daha nasıl sevicem söyle
Cm                         Gm
Bil ki dönmelisin kafayı yiyicem böyle
                        Fm
Alnıma yazılmışı nasıl silicem
          Gm   Fm        Gm  Ab   Bb   Cm
Kadere güvenip nasıl düzelicem

Cm   Gm   Cm   Gm   Fm   Gm   Gm   Ab   Bb

Cm                          Gm
Ne kadar eksik ve yalnız olsam da
Cm                   Gm
Bir daha sana güvenemicem
                         Fm
Ellerinle bağladığın yarınlarıma sen ağla
            Gm     Fm         Gm
Nasıl inanıcam sevdaya, kime sarılıcam

Cm                          Gm
Şimdi bir daha nasıl sevicem söyle
Cm                         Gm
Bilki dönmelisin kafayı yiyicem böyle
                      Fm
Alnıma yazılmışın nasıl silicem
          Gm   Fm        Gm   Ab   Bb   Cm
Kadere güvenip nasıl düzelicem

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Tan Taşçı - Nasıl Seveceğim Tabs

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Harmony analysis

Tan Taşçı – Nasıl Seveceğim: 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.

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 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	9×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	20×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	3×
V	Bb	Dominant — strongest pull home	Bb · D · F	3×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	12×
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	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	9×
v	Gm	Minor dominant — soft pull	G · Bb · D	20×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	3×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	3×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 47 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

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×7
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×3

The move to watch is Gm → Cm, heard 7 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
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.

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

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The opening Cm lays a solid floor for everything that follows. Gm, Cm, Fm, Ab carry the song: iii–vi–ii–IV relative to Eb, v–i–iv–VI relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. 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.