Sibel Can - Çakmak Çakmak (Tarkan) - Chord

Key Bb major – G minor Chords Dm, Gm, Eb, F, Cm, Bb, F#, D Easy key C

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Capo 0

Dm    F    Gm    Eb    Dm

Dm                         Gm
İçimde bir kıpırtı var hayır ola 
Dm                         Gm       Bb
Hop oturup hop kalkıyor gönül okuyor canıma 
Dm                    Gm
Ne desem boş sığmıyorki ele avuca 
Dm                      Eb
Diyorki Leyla kavuştu Mecnunu'na 

Eb   Cm
Ooff of
Dm          
Gafil avladı bu kez felek 
Eb                       
Bi yolunu bulup oyuna getirdi yine 
Gm                 F#
Tuzaklarına düşürdü beni bilerek 

Eb   Cm
Ooff of
Dm
Her halinden apacık belli 
Eb                     Cm
Oda yere bakan yürek yakanlardan 
Eb          D
Ateşten gömlek 

Dm
Yine başımda kavak yelleri 
       F
Bacayı sardı yarın alevleri 
       Gm        Eb         Dm
Dili yansa da gönül aldırmıyor 

Dm
Ama çakmak çakmak o gözleri 
        F             
Tam on iki den vurdu kalbimi 
      Gm            Eb          Dm
Olan oldu bu gönül ferman dinlemiyor 

Dm                         
Bakışı gülüşü pek hoş
Gm
Ağzından bal akıyor 
Dm
Onsuz hayat boş 
Gm              Bb
Can katıyor canıma 
Dm                 Gm
İçimde kelebekler uçusuyor 
Dm                  Eb
Yol aldım aşıklar diyarına

End of song Play again?

Sibel Can - Çakmak Çakmak (Tarkan) Tabs

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Harmony analysis

Sibel Can – Çakmak Çakmak (Tarkan): key and chord analysis

The song opens on Dm and ends on Eb. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (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 G minor side because Gm is heard 10 times against 2 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	2×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	3×
iii	Dm	Mediant — a tonic-family shade	D · F · A	16×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	1×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	10×
V	F	Dominant — strongest pull home	F · A · C	3×
bVI	F#	Borrowed from the parallel minorborrowed chord	F# · A# · C#	1×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	10×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	10×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	2×
iv	Cm	Subdominant — moves away from home	C · Eb · G	3×
v	Dm	Minor dominant — soft pull	D · F · A	16×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	1×
VI	Eb	Submediant — warm colour	Eb · G · Bb	10×
VII	F	Subtonic — steps back to the tonic	F · A · C	3×
#VII	F#	Chromatic colour chordoutside the key	F# · A# · C#	1×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 46 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm. F# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×6
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×3
Eb Gm BbIV → vi GmVI → iVI → i ×1

The move to watch is Dm → Gm, heard 6 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Dm, land on D, F, A — 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
When D comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
On F#, follow the chord's notes (F# · A# · C#) 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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, Gm, Eb, F — iii–vi–IV–V from the Bb side, v–i–VI–VII from the Gm side. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Eb; the ear comes to rest in Bb.

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.