Mustafa Sandal - Pazara Kadar - Chord

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

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Capo 0

Cm  Cm  Cm  Gm  Cm Cm  Ab  Fm  Gm

Cm            Gm
Aşkına kurban olayım, olayım
Cm              Gm
Mahşere gel de, geleyim, geleyim
Bb              Cm
Tek sözün yeter can feda sana
Ab               Gm
Her şeyim senin, uğruna öleyim
Cm     Gm
Canımı vereyim

Bb              Cm
Tek sözün yeter can feda sana
Ab               Gm
Her şeyim senin, uğruna öleyim
Cm     Gm
Canımı vereyim

Cm
Pazara kadar değil, mezara kadar
              Gm
Gelirim senle Fizan'a kadar
Cm 
Ayrılmak yok en son gün bile
Ab         Fm       Gm
Tarih bizi yazana kadar

Cm             Gm
Sevmişim seni, vazgeçer miyim
Cm           Gm
Yerini kimse alamaz, alamaz
Bb               Cm
Sen kalbimdesin, dilimde değil
Ab              Gm
Bu ömrüm senin, yoluna sereyim
Cm     Gm
Canımı vereyim

Bb               Cm
Sen kalbimdesin, dilimde değil
Ab              Gm
Bu ömrüm senin, yoluna sereyim
Cm     Gm
Canımı vereyim

Cm
Pazara kadar değil, mezara kadar
              Gm
Gelirim senle Fizan'a kadar
Cm 
Ayrılmak yok en son gün bile
Ab         Fm       Gm
Tarih bizi yazana kadar

End of song Play again?

Mustafa Sandal - Pazara Kadar Tabs

NotesX

Harmony analysis

Mustafa Sandal – Pazara Kadar: key and chord analysis

The song opens on Cm 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 it opens on Cm and Cm is heard 21 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	3×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	18×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	7×
V	Bb	Dominant — strongest pull home	Bb · D · F	4×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	21×
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	21×
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	3×
v	Gm	Minor dominant — soft pull	G · Bb · D	18×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	7×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	4×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 53 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 ×13
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×4

The move to watch is Gm → Cm, heard 13 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — 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

Starting on Cm, the song gives away its key from the very first bar. The backbone is Cm, Gm, Ab, Bb — vi–iii–IV–V from the Eb side, i–v–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 Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. 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.