Sıla - Karanfil - Chord

Key Ab major – F minor Chords Cm, Bbm, Db, Eb, Fm, Ab Easy key C

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Capo 0

Cm  Db  Cm  Bbm
Cm  Db  Db  Cm  Eb

Fm          Cm
 Oysa kendimden emindim
Bbm        Cm
 Ona bir anda suç oldum
Fm         Cm
 Heder etti keyfe keder
Db         Cm
 Beni kafesledi kuş oldum
 
Bbm         Cm
 Hiç olmazsa yılda bir gün
Bbm         Cm
 An beni al bir karanfil tak
Db           Cm
 Benden olsun bir sigara yak
Bbm        Ab   Db  Eb
 Bana kor olsun
 
Bbm         Cm
 Hiç olmazsa yılda bir gün
Bbm         Cm
 An beni al bir karanfil tak
Db           Cm
 Benden olsun bir sigara yak
Bbm        Ab
 Bana kor olsun

    Db  Eb   Bbm        Cm
 Sigara yak, bana kor olsun

Fm          Cm
 Hevesliydim önceden
Bbm          Cm
 Saymayı bıraktım kaç oldum
Fm         Cm
 Deli esti savurdu rüzgar
Db           Cm
 Kurunun yanında yaş oldum
 
Bbm         Cm
 Hiç olmazsa yılda bir gün
Bbm         Cm
 An beni al bir karanfil tak
Db           Cm
 Benden olsun bir sigara yak
Bbm        Ab   Db  Eb
 Bana kor olsun
 
Bbm         Cm
 Hiç olmazsa yılda bir gün
Bbm         Cm
 An beni al bir karanfil tak
Db           Cm
 Benden olsun bir sigara yak
Bbm        Ab
 Bana kor olsun

    Db  Eb   Bbm        Cm
 Sigara yak, bana kor olsun

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Sıla - Karanfil Tabs

NotesX

Harmony analysis

Sıla – Karanfil: key and chord analysis

The song opens on Cm and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

Major view

Ab major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Db (the minor's melancholy)
b7 = Eb (natural-minor colour)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between Ab major and F minor. Try reading the chords both ways and see which feels more like home to you.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Ab or to Fm; 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 Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	4×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	17×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	26×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	13×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	5×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	4×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	4×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	4×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	17×
v	Cm	Minor dominant — soft pull	C · Eb · G	26×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	13×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	5×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 69 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×4
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×3
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×1

The move to watch is Db → Eb, heard 4 times. From the Ab side it reads IV → V (IV → V: the lift that builds tension before home); from the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — 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 Ab major shapes

Capo 1 + G shapes
Capo 4 + E shapes
Capo 6 + D shapes

With F minor shapes

Capo 1 + Em shapes
Capo 3 + Dm shapes

Easiest keys on guitar

4 semitones up
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. Cm, Bbm, Db, Eb carry the song: iii–ii–IV–V relative to Ab, v–iv–VI–VII relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): IV → V — the lift that builds tension before home. It closes on Cm, letting the Ab side have the last word.

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.