Fettah Can - Mandalinalar - Chord

Key Eb major – C minor Chords Gm7, Fm7, G#, G7, Cm7, Gsus Easy key C (capo 3)

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Capo 0

Cm7  Cm7  Gm7  Gm7  Fm7  G#  Gsus  G7

Cm7
Ayrı ayrı uyusak uyansak
Gm7
Yaz gelse açılsak
Fm7        G#
Ayrı ayrı iki yarımdan
Gsus        G7
Bir tamam olsak

Cm7
Sizi yalnız severken birden
Gm7
Sen ve ben olsak
Fm7           G#
Beni yalnız bırakmasan hatta
Gsus       G7
Sevgili olsak

Fm7
Mandalinalar tezgahta
  Gm7
Kokusu girse kanıma
     Fm7            G#
Beni uyandırsa seni kandırsa
Gsus            G7
Tamamdır aşık olsak
     G#         G7
Tamamdır aşık olsak

Cm7
Yeniden taşınır gibi
     Gm7
Yeni bir yere alışır gibi
     Fm7            G#
Yeni doğmuş bebek gibi
          Gsus
Olursun diyorlar
     G7
Sevenler biliyorlar

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Fettah Can - Mandalinalar Tabs

NotesX

Harmony analysis

Fettah Can – Mandalinalar: key and chord analysis

The song opens on Cm7 and ends on G7. 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)
#7 = B (harmonic-minor leading tone from the V chord)

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, Cm is heard 5 times while Eb never appears and the major V chord points straight at Cm. 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	—
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	6×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	6×
IIIsus4	Gsus	Mediant — a tonic-family shade	G · C · D	5×
V7/vi	G7	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D · F	6×
IV	G#	Subdominant — moves away from home	G# · B# · D#	6×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	5×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i7	Cm7	Tonic — home	C · Eb · G · Bb	5×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	6×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	6×
Vsus4	Gsus	Minor dominant — soft pull	G · C · D	5×
V7	G7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D · F	6×
VI	G#	Submediant — warm colour	G# · B# · D#	6×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 34 times in total; 5 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G7 is V7/vi, a secondary dominant heading for Cm.

Chord movement

G7 Cm7 EbV7/vi → vi7secondary resolution CmV7 → i7harmonic-minor cadence ×3

The move to watch is G7 → Cm7, heard 3 times. From the Cm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V7/vi → vi7 (secondary resolution: G7 resolves a fourth up to Cm7). 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 Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Fm7, 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.
When Gsus comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.

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 first chord is Cm7; the ear learns where home is within a second. The backbone is Gm7, Fm7, G#, G7 — iii7–ii7–IV–V7/vi from the Eb side, v7–iv7–VI–V7 from the Cm side. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on G7 → Cm7 (V7/vi → vi7 in Eb, V7 → i7 in Cm): harmonic-minor cadence — the major V resolves dramatically. Ending on G7, 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.