Sibel Can - Lale Devri - Chord

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

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Capo 0

Fm   Cm   Ab   Gm
Cm   Fm   Bb   Ab   Gm

Cm       Fm      Cm      Fm            Ab 
Çok geç kalmışız canım, vakit bu vakit değil 
Ab             Fm        Bb           Eb
Eski radyolar gibi çatıya saklanmış aşk
Cm      Fm      Cm     Fm           Ab 
Öyle sanmışız canım, artık ölümsüz değil
Ab              Fm          Bb          Eb
Leyla ile Mecnun gibi, çoktan masal olmuş aşk 

Fm                   Cm        Fm     Ab   Gm
Lale devri çocuklarıyız biz, zamanımız geçmiş 
Cm               Fm      Bb               Ab   Gm   
Aşk şarabından kim bilir en son, hangi şanslı içmiş

Gm                Bb         Cm         Fm 
Ben derim utanma iftihar et sevmeyenler utansın
Gm                Bb         Ab   Fm    Gm
Aşksızlığa mahkum edildiyse bu dünya yansın
Gm                Bb         Cm         Fm
Ben derim utanma iftihar et sevmeyenler utansın
Gm                Bb         Ab   Fm    Gm
Aşksızlığa mahkum edildiyse bu dünya yansın

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Sibel Can - Lale Devri Tabs

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Harmony analysis

Sibel Can – Lale Devri: key and chord analysis

The song opens on Fm and ends on Gm. 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 Cm is heard 10 times against 2 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	15×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	10×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	10×
V	Bb	Dominant — strongest pull home	Bb · D · F	8×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	10×
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	10×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	15×
v	Gm	Minor dominant — soft pull	G · Bb · D	10×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	10×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	8×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 55 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

Fm Cm Ebii → vi Cmiv → iminor plagal ×4
Fm Bb Ebii → Vii → V Cmiv → VII ×4
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3
Bb Eb EbV → Iauthentic cadence CmVII → III ×2
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2

The move to watch is Fm → Cm, heard 4 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 Fm, land on F, Ab, C — 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 Ab, land on Ab, C, Eb — 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 Fm lays a solid floor for everything that follows. The chords that keep coming back are Fm, Cm, Ab, Gm; read them as ii–vi–IV–iii in Eb or iv–i–VI–v in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. The final chord is Gm; 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.