Sibel Can - Padişah - Chord

Key Ab major – F minor Chords Eb, Cm, Fm, Bb, Ab Easy key C

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Capo 0

Cm   Fm   Eb   Bb  
Fm   Eb   Bb   Cm

Cm
Üstüme gelme inanamam
                        Fm
Beni ben gibi sevmedi bilirim
                         Eb
Bu sefer de yalancı ben olamam 
     Fm                Cm
Seni bir kalemde rezil ederim 

Ab
Korkuyorum sana aşktan söz etmeye ben
        Eb
İnatçıyım derdim çok, dostum var hiç dermanım yok 
Ab
Ah ne zaman bu ayrılık pek yaman
            Eb
Neler çektim bu dünyadan, el mi yaman ben mi yaman 

Cm   Eb

       Cm          Fm
Bu devirde kimse sultan değil
      Eb              Bb
Hükümdar değil bezirgan değil
      Fm             Eb
Bu kadar güvenme hiç kendine
       Bb             Cm
Kimse şah değil padişah değil

End of song Play again?

Sibel Can - Padişah Tabs

NotesX

Harmony analysis

Sibel Can – Padişah: key and chord analysis

The song opens on Cm and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

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)

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 Fm is heard 6 times against 2 for Ab. 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	2×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	—
V/V	Bb	Secondary dominant V/V — leads to Ebsecondary dominant	Bb · D · F	4×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	7×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	—
V	Eb	Dominant — strongest pull home	Eb · G · Bb	8×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	6×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
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	2×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	—
IV	Bb	Major IV — Dorian / melodic-minor colourmodal colour	Bb · D · F	4×
v	Cm	Minor dominant — soft pull	C · Eb · G	7×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	—
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	8×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 27 times in total; 4 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Cm Fm Abiii → vi Fmv → inatural-minor cadence ×3
Eb Ab AbV → Iauthentic cadence FmVII → III ×1
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×1

The move to watch is Cm → Fm, heard 3 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → 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 Eb, land on Eb, G, Bb — 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 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
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Eb, Cm, Fm, Bb; read them as V–iii–vi–V/V in Ab or VII–v–i–IV in Fm. Bb adds a moment of surprise: secondary dominant V/V — leads to Eb. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. It closes on Cm, letting the Ab 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.