Çelik - Afedersin - Chord

Key Eb major – C minor Chords Cm, G#, Bb, Fm, Eb, G Easy key G

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Capo 0

Cm           G#            Bb       Cm
Her gün yeni bir şeylerden vazgeçiyorum
Cm              G#        Bb        Cm
Dün de canımdan vazgeçtim sonuna kadar

Fm            Bb         G#         Fm 
Değersin her bir saat yeniden ölsem de 
  Cm              G#    Bb         Cm
Kaldı ki ben kimim ki ölmüşüm kalmışım

Cm                Fm 
Afedersin halime itiraz etsem de 
Bb                          Eb 
Can fazla gelir sen varken hücrelerimde 
G#                   Fm        
Haykırırım isteyenin bir yüzü kara 
G#                    G        Cm 
Vermeyenin nur olsun böyledir bizde 

Cm             G#   Bb             Cm
Öyle bir yaşamak ki ne türlüdür sorma
Cm          G#  Bb            Cm
Uzakta yasamak yakınlardan yakın

Fm               Bb     G#         Fm 
Şimdi bir tek şey kalmış becerebildiğim 
Cm                  G#    Bb       Cm     
Bir sevgi bir sevmek var gönlümün içinde

End of song Play again?

Çelik - Afedersin Tabs

NotesX

Harmony analysis

Çelik – Afedersin: key and chord analysis

The song opens on Cm and ends on Cm. 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 both starts and finishes on Cm, Cm is heard 14 times against 1 for Eb 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	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	6×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	1×
IV	G#	Subdominant — moves away from home	G# · B# · D#	10×
V	Bb	Dominant — strongest pull home	Bb · D · F	9×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	14×
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	14×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	6×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	1×
VI	G#	Submediant — warm colour	G# · B# · D#	10×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	9×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 41 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 G is V/vi, a secondary dominant heading for Cm.

Chord movement

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×6
G# Bb EbIV → VIV → V CmVI → VIIVI → VII ×6
Fm Bb Ebii → Vii → V Cmiv → VII ×3
Fm Cm Ebii → vi Cmiv → iminor plagal ×2
Bb Eb EbV → Iauthentic cadence CmVII → III ×1
G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×1

The move to watch is Bb → Cm, heard 6 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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 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.
When G 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

4 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Cm lays a solid floor for everything that follows. The backbone is Cm, G#, Bb, Fm — vi–IV–V–ii from the Eb side, i–VI–VII–iv from the Cm side. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. Ending on Cm, the song seals Cm 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.