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)
Emir Can İğrek - Silahım Yok - Chord
Key Ab major – F minor Chords Fm, Eb, Db, Bbm Easy key G (capo 1)
No ratings yet
or your user informations
Make it yours
Text size
Key: Ab | Fm
Capo: 0
Fm Eb Eb Db Fm
Fm
Bu savaştan yoruldum
Eb
Derdim deryadır
Db
Kafamı bozdular ama yine
Eb Fm
Bozmadım ağzımı hey
Fm
Bu ne iştir ne yoldur
Eb
Çözemem bir kaç yıldır
Db
Beni sevmedi düzen ona
Eb Fm
Ben de bayılmadım hey
Fm
Boş laflar, boş adamlar
Bbm
Silahım yok sigaram var
Eb Db Fm
İçerimde derdimi saklar
Fm Eb Eb Db Fm
Eb
Uçsun aklım semaya
Db Eb
Dönsün fikrim sedayaa
Fm
Bağıralım ulu orta
Eb
Hala hayattayız ve
Db Eb
Yıldızlar gökyüzünde
Fm
Hala parlak ve hür
Fm
Boş laflar, boş adamlar
Bbm
Silahım yok sigaram var
Eb Db Fm
İçerimde derdimi saklar
End of song Play again?
Emir Can İğrek - Silahım Yok Tabs
NotesX
Harmony analysis
Emir Can İğrek – Silahım Yok: key and chord analysis
The song opens on Fm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
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: to us the song feels closer to the F minor side because it both starts and finishes on Fm and Fm is heard 14 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 2× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 8× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 14× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 14× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 14× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 2× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 8× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 14× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 38 times in total; 4 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
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×4
- Db Fm AbIV → vi FmVI → iVI → i ×4
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×4
- Bbm Eb Abii → Vii → V Fmiv → VII ×2
The move to watch is Eb → Fm, heard 4 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 Fm, land on F, Ab, C — 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.
- 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
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. The backbone is Fm, Eb, Db, Bbm — vi–V–IV–ii from the Ab side, i–VII–VI–iv from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. The final chord is Fm; the ear comes to rest in Fm.
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.
Emir Can İğrek - Silahım Yok Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Emir Can İğrekMusic: Emir Can İğrekArrangement: Yiğit Avcı
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.