Ahmet Kaya - Çek Mustafa Çek - Chord

Key C major – A minor Chords Am, Dm, E Difficulty already in its easiest key

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Capo 0

Dm  Am  E  Dm

Am
Genç kadınları kültürümüzle etkiledikten sonra
Dm
Vesta kızlarını rahibelere saldırdıktan sonra
                                       Am
Leylakları yaktıktan bulutları gödükten sonra

Dm
Elimize ne geçti
Am
Elimize ne geçti
Dm                    Am
Akademide bi koltuk ve birde çek defteri
E                     Am
Akademide bi koltuk ve birde çek defteri

Dm
Çek mustafa çek
Am
Çek çek rakı çek
E
Senin ömrün hep böyle
             Am
Çekmeklemi geçecek

E
Senin ömrün hep böyle
                 Am
Ahkam kesmekle geçecek

Dm  Am  E  Dm

Am
Müzeleri havalara uçurduktan sonra
Dm
Ün peşinde koşup 

O kadınla yattığımızı düşledikten sonra

Gazetelere geçsin diye adımız
            Am
Yalvar yakar olduktan sonra

Dm
Elimize ne geçti
Am
Elimize ne geçti
Dm                    Am
Akademide bi koltuk ve birde çek defteri
E                     Am
Akademide bi koltuk ve birde çek defteri

Dm
Çek mustafa çek
Am
Çek çek rakı çek
E
Senin ömrün hep böyle
             Am
Çekmeklemi geçecek

E
Senin ömrün hep böyle
                 Am
Ahkam kesmekle geçecek

E
Senin ömrün hep böyle
                  Am
Rakı içmekle mi geçecek

E
Senin ömrün hep böyle
                  Am
çek kesmekle mi geçecek

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Ahmet Kaya - Çek Mustafa Çek Tabs

NotesX

Harmony analysis

Ahmet Kaya – Çek Mustafa Çek: key and chord analysis

The song opens on Dm and ends on Am. 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 comes to rest on Am, Am is heard 20 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	12×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	10×
IV	F	Subdominant — moves away from home	F · A · C	—
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	20×
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	20×
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	12×
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	10×
VI	F	Submediant — warm colour	F · A · C	—
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 42 times in total; 2 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 E is V/vi, a secondary dominant heading for Am.

Chord movement

Dm Am Cii → vi Amiv → iminor plagal ×12
E Am CV/vi → vi AmV → iharmonic-minor cadence ×8

The move to watch is Dm → Am, heard 12 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → vi. 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
When E 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. The backbone is Am, Dm, E — vi–ii–V/vi from the C side, i–iv–V from the Am side. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. It closes on Am, letting the Am 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.