Can Kazaz - Sürekli Dert - Chord

Key Bb major – G minor Chords Cm, Gm, F, Dm, A Easy key C

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Capo 0

Cm  Gm  Dm  F

Cm                   Gm
Hiçbir halttan mutlu olamıyorum
        Dm                 F
Yine de kedim bile sakinleşiyor sesimle
Cm               Gm
İçimde kopanları anlatabilsem
   Dm                 F     
Hepsinden önce kendim anlayabilsem

Cm                 Gm
Yeter artık sürek dert
        Dm
Kendimi aşsam bile dert
F
Uçsam bile dert
         
Cm                   Gm
Yeter artık sürekli dert
        A
Kendimi açsam bile dert
F
Kaçsam bile dert

Cm               Gm
Kim getirdi beni bu hale
Dm         F
Bu halim niye
Cm          Gm        Dm      F
Ne düşünüyordu kafanın içinde

Cm  Gm  Dm  F

Cm                      Gm
Doğru düzgün yemek bile yiyemiyorum
        Dm                 F
Yine de yorgun bile olsam yadırganıyorum
Cm               Gm
İçimde kopanları anlatabilsem
Dm                    F
Hepsinden önce kendim anlayabilsem

Cm                 Gm
Yeter artık sürek dert
        Dm
Kendimi aşsam bile dert
F
Uçsam bile dert
         
Cm                   Gm
Yeter artık sürekli dert
        A
Kendimi açsam bile dert
F
Kaçsam bile dert

Cm               Gm
Kim getirdi beni bu hale
Dm         F
Bu halim niye
Cm          Gm        Dm      F
Ne düşünüyordu kafanın içinde

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Can Kazaz - Sürekli Dert Tabs

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Harmony analysis

Can Kazaz – Sürekli Dert: key and chord analysis

The song opens on Cm and ends on F. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because Gm is heard 14 times while Bb never appears. 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	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	14×
iii	Dm	Mediant — a tonic-family shade	D · F · A	12×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	14×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	14×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
V/iii	A	Secondary dominant V/iii — leads to Dmsecondary dominant	A · C# · E	2×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	14×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
V/v	A	Secondary dominant V/v — leads to Dmsecondary dominant	A · C# · E	2×
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	14×
v	Dm	Minor dominant — soft pull	D · F · A	12×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	14×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 56 times in total; 4 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Cm Gm Bbii → vi Gmiv → iminor plagal ×14

The move to watch is Cm → Gm, heard 14 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → 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 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 F, land on F, A, C — 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 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
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The backbone is Cm, Gm, F, Dm — ii–vi–V–iii from the Bb side, iv–i–VII–v from the Gm side. A adds a moment of surprise: secondary dominant V/iii — leads to Dm. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. Ending on F, the song seals Bb 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.