Emir Can İğrek - Ecza Deposu - Chord

Key A major – F# minor Chords C#m, D, Bm7, Dmaj7, Bm Easy key C

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Capo 0

C#m  Dmaj7  Bm7  C#m

C#m
Yeteri kadar direniş ve sevda
D
Ederi kadar anarşi
C#m
Benimde keşke bir söz hakkım olsa
D
Bu dibine kadar monarşi

C#m
Sağımda canavar, solumda zombi
D
Önümde sen vardın
C#m
Sana sığındım bu yangın yerinde
D                     Bm7
Dedim sen anlarsın, beni

C#m           D
Ecza deposuydu şu vücudum
         Bm              C#m
İlacından içe içe serseri oldum

C#m  Dmaj7  Bm7  C#m

C#m
Sağımda kumar var, solumda zarlar
D
Karşımda sen vardın
C#m
Sana sığındım bu yangın yerinde
D                     Bm7
Dedim sen anlarsın, beni

C#m           D
Ecza deposuydu şu vücudum
         Bm              C#m
İlacından içe içe serseri oldum

End of song Play again?

Emir Can İğrek - Ecza Deposu Tabs

NotesX

Harmony analysis

Emir Can İğrek – Ecza Deposu: key and chord analysis

The song opens on C#m and ends on C#m. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (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 A 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 A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	4×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	2×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	14×
III	C#	Chromatic colour chordoutside the key	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	8×
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	2×
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	—
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	—
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	4×
iv	Bm	Subdominant — moves away from home	B · D · F#	2×
v	C#m	Minor dominant — soft pull	C# · E · G#	14×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	8×
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	2×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 30 times in total; 5 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is C#m; the ear learns where home is within a second. The chords that keep coming back are C#m, D, Bm7, Dmaj7; read them as iii–IV–ii7–IVmaj7 in A or v–VI–iv7–VImaj7 in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is C#m; the ear comes to rest in A.

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.