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)
Mustafa Ceceli - Can Parçam - Chord
Key Eb major – C minor Chords Gm, Fm, G#, Bb, Cm, Eb Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Gm Fm G# Gm
Kalemin günahı yok söz bittiyse
Gm Fm G# Gm
Çıksın yerinden göz değdiyse
Gm G#
Yaşanıyormuş nefessiz
Gm Fm
Yanıyorum ben ateşsiz
G# Bb
Dualarım dilsiz Allah'a
Fm Gm
Yaşatmasın sensiz
Cm Gm
Can parçam tut ellerimi
Bb Eb
Sakın bırakma ölene kadar
Cm Fm
Sınıyor Hak belli ki bizi
Gm Bb Gm
Beraber uyuturuz derdimizi
Cm Gm
Ah be gül goncam gel gir canıma
Bb Eb
Sakın çıkma geçti diyene kadar
Cm G#
Bak gör önümüzdeki bahar
Bb G# Gm
Unutmuş olacağız bu günleri
Cm Gm Fm Eb
Cm Fm Bb G# Gm
Gm Fm G# Gm
Ömrümün devamı yok sen gidersen
Gm Fm G# Gm
O son günüm olsun sensiz gülersem
Gm G#
Yaşanıyormuş nefessiz
Gm Fm
Yanıyorum ben ateşsiz
G# Bb
Dualarım dilsiz Allah'a
Fm Gm
Yaşatmasın sensiz
End of song Play again?
Mustafa Ceceli - Can Parçam Tabs
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Harmony analysis
Mustafa Ceceli – Can Parçam: key and chord analysis
The song opens on Gm and ends on Gm. 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 Cm is heard 6 times against 3 for Eb. 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 | 3× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 11× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 21× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | G# | Subdominant — moves away from home | G# · B# · D# | 11× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 7× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 6× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 6× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 3× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 11× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 21× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | G# | Submediant — warm colour | G# · B# · D# | 11× |
| 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). 6 different chords appear 59 times in total; 6 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
- G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×3
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3
- Bb Eb EbV → Iauthentic cadence CmVII → III ×2
- Fm Bb Ebii → Vii → V Cmiv → VII ×1
The move to watch is G# → Bb, heard 3 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → V (IV → V: the lift that builds tension before home). 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 Fm, land on F, Ab, C — 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.
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
Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, Fm, G#, Bb — iii–ii–IV–V from the Eb side, v–iv–VI–VII from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G# → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. Ending on Gm, the song seals Eb 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.
Mustafa Ceceli - Can Parçam 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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