Emir Can İğrek - Muhalif - Chord

Key C major – A minor Chords Am, F, G, Dm, E7 Easy key G (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am
Bu gece tangöze gibiyim

Kafam güzel ve sahnede deliyim

Yaşama muhalifim yaşama ama
                                Dm
Arada bir bu sevdanın köpeğiyim hala

Solmuyorum daldan beni koparsalar da
F
 Tekmele tekmele ölmedi Ali

Onun gibiyim inatla

Am
Elimde bir beyaz gitar

Dolanırım diyar diyar
F                   G
Elimde bi beyaz suç ortağım var

Ay ay ay

Am  Am  F  G

Am
Bu gece mermi gibiyim

Son dakika kazanılan derbi gibiyim

Yirmi yediyim henüz geçmedi
                        Dm
Tarihe hiçbir dediğim heey
                                      F
Bilmiyorum rüzgar bizi dağıtırsa bir gün
                G
Gençliğimiz bir marş gibi söylensin hala

Am
Elimde bir beyaz gitar

Dolanırım diyar diyar
F                   G 
Elimde bi beyaz suç ortağım var

Am  Am  F  G

Am
Biz ne yollardan geçtik, ne yarlardan düştük
                F      E7
Bak hala dimdik burdayız
Am
Bak bu neslin göğsünde, Nazım var Ayhan var
              F      E7
Kaldır başını burdayız

Am
Elimde bir beyaz gitar

Dolanırım diyar diyar
F                   G 
Elimde bi beyaz suç ortağım var

End of song Play again?

Emir Can İğrek - Muhalif Tabs

NotesX

Harmony analysis

Emir Can İğrek – Muhalif: key and chord analysis

The song opens on Am and ends on G. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because it opens on Am, Am is heard 11 times while C never appears and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	2×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	2×
IV	F	Subdominant — moves away from home	F · A · C	9×
V	G	Dominant — strongest pull home	G · B · D	6×
vi	Am	Relative minor — the melancholy side	A · C · E	11×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	11×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	2×
v	Em	Minor dominant — soft pull	E · G · B	—
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	2×
VI	F	Submediant — warm colour	F · A · C	9×
VII	G	Subtonic — steps back to the tonic	G · B · D	6×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 30 times in total; 4 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am.

Chord movement

F G CIV → VIV → V AmVI → VIIVI → VII ×6
G Am CV → videceptive cadence AmVII → iAeolian arrival ×5
E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×2
F Am CIV → vi AmVI → iVI → i ×1

The move to watch is F → G, heard 6 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Am, land on A, C, E — 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.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
When E7 comes, swap the scale's G for G#: 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. The backbone is Am, F, G, Dm — vi–IV–V–ii from the C side, i–VI–VII–iv from the Am side. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. It closes on G, letting the C 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.