Ajda Pekkan - Canın Sağ Olsun - Chord

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

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Capo 0

Gm  Eb  Cm  Gm

Gm                     Dm
Dediler gidiyor yine o dediler
                Cm
Dönmüyor geriye dediler
   Dm           Gm
Kalbim boşver aldırma

Eb                              Cm
Bi kere de beni dinle dediğim olsun
F                             Gm
Aşk bi kere de bende yerini bulsun
Eb                 D           Cm
Kalpten atmak seni son yeminim olsun
Eb           D            Gm
Dönmezsen dönme  canın sağolsun
Eb           D            Gm
Sevmezsen sevme canın sağolsun

Gm               Dm
Kolay olmadı seni bağlamak
F               Cm
Ardından son kez ağlamak
Gm               Dm
Duydum ki sen çok mutlusun
F         Gm
Canın sağolsun

Gm               Dm
Kolay olmadı seni bağlamak
F               Cm
Ardından son kez ağlamak
Gm               Dm
Hayat güzel sen doğrusun
F         Gm
Canın sağolsun

Gm  Dm  F  Cm  Gm  Dm  F  Gm

    Eb                    Dm
Yeniler, geçmişi unutsana dediler
               Cm
Aklın kalmasın dediler
   Dm          Gm
Bense aynı yollarda

Eb                              Cm
Bi kere de beni dinle dediğim olsun
F                             Gm
Aşk bi kere de bende yerini bulsun
Eb                 D           Cm
Kalpten atmak seni son yeminim olsun
Eb           D            Gm
Dönmezsen dönme  canın sağolsun
Eb           D            Gm
Sevmezsen sevme canın sağolsun

Gm               Dm
Kolay olmadı seni bağlamak
F               Cm
Ardından son kez ağlamak
Gm               Dm
Duydum ki sen çok mutlusun
F         Gm
Canın sağolsun

Gm               Dm
Kolay olmadı seni bağlamak
F               Cm
Ardından son kez ağlamak
Gm               Dm
Hayat güzel sen doğrusun
F         Gm
Canın sağolsun

Hep mi bana acı verdin
Ama beni hiç mi duyamıyorsun
Ne oldu diye sorma bana bir daha
Yok bişey, canın sağolsun

End of song Play again?

Ajda Pekkan - Canın Sağ Olsun Tabs

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Harmony analysis

Ajda Pekkan – Canın Sağ Olsun: key and chord analysis

The song opens on Gm and ends on Gm. 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 it both starts and finishes on Gm, Gm is heard 26 times while Bb never appears 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	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	12×
iii	Dm	Mediant — a tonic-family shade	D · F · A	14×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	6×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	10×
V	F	Dominant — strongest pull home	F · A · C	12×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	26×
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	26×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	12×
v	Dm	Minor dominant — soft pull	D · F · A	14×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	6×
VI	Eb	Submediant — warm colour	Eb · G · Bb	10×
VII	F	Subtonic — steps back to the tonic	F · A · C	12×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 80 times in total; 5 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.

Chord movement

F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×7
Cm Gm Bbii → vi Gmiv → iminor plagal ×6
D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×4
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×2
Cm F Bbii → Vii → V Gmiv → VII ×2

The move to watch is F → Gm, heard 7 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — 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.

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 Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, Dm, Cm, F; read them as vi–iii–ii–V in Bb or i–v–iv–VII in Gm. 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 F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. Ending on Gm, the song seals Gm 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.