Şebnem Ferah - Can Kırıkları (Tab) - Chord

Key C major – A minor Chords Am, G, Bb, Gm Easy key G (capo 5)

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Capo 0

Riff
G                   Am
 Bu kalabalığın içinde
G           Am
 Yapayalnız hissetmektense
G             Am
 Dünyanın bir ucunda
G          Am
 Tek başımayım

G                        Am
 Kir göstermeyen renkleriniz
G            Am
 Sizin olsun korkmaktansa
G                 Am
 Bulanıklığın tam içinde
G          Am
 Bir başımayım

Am
 Benim belki de
Bb         Gm        Am
 Gizli bir bildiğim var

 Elbette ağlarım
Bb           Gm        Am
 Benim can kırıklarım var

 Senin gördüğün
Bb            Gm    Am
 Yanağımdan süzülenler

 Asıl içimde
  Bb                       Am
 İçinde yüzdüğüm bir deniz var


Şarkının tonu nakaratta Dm-F oluyor

End of song Play again?

Şebnem Ferah - Can Kırıkları (Tab) Tabs

Riff E-----------------------|-----------------------|-0-| B-----------------------|---------0-------------|-1-| G-------0---------------|-------0---------------|-2-| D---2-3---3-3-2-0-3-2---|---2-3-----3-3-2-0-----|-2-| A-0-------------------0-|-0-----------------3-0-|-0-| E-----------------------|-----------------------|---| Am

NotesX

Harmony analysis

Şebnem Ferah – Can Kırıkları (Tab): key and chord analysis

The song opens on G and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it comes to rest on Am and Am is heard 13 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	—
V	G	Dominant — strongest pull home	G · B · D	8×
v	Gm	Chromatic colour chordoutside the key	G · Bb · D	3×
vi	Am	Relative minor — the melancholy side	A · C · E	13×
bVII	Bb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Bb · D · F	4×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	13×
bII	Bb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Bb · D · F	4×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	—
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	—
VII	G	Subtonic — steps back to the tonic	G · B · D	8×
vii	Gm	Chromatic colour chordoutside the key	G · Bb · D	3×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 28 times in total; 2 of them sit naturally inside the shared scale. Bb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G Am CV → videceptive cadence AmVII → iAeolian arrival ×8

The move to watch is G → Am, heard 8 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Am, land on A, C, E — 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.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
On Bb, follow the chord's notes (Bb · D · F) 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on G, the song gives away its key from the very first bar. The backbone is Am, G, Bb, Gm — vi–V–bVII–v from the C side, i–VII–bII–vii from the Am side. Bb briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. It closes on Am, letting the Am 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.