Ari Barokas - Salaksın - Chord

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

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Capo 0

C  Dm  G

C                 Dm  G
Bakanlar göremiyor
C                 Dm  G
Geldi mi gidemiyor
C             Dm     G
Neyine güveniyor da  maşallah
C               Dm    G      C
Sonumuz yine hayırdır  inşallah

C              Dm  G
Adab-ı muaşeret
C                Dm  G
Adem-i merkeziyet
C             Dm    G    C
Yine de muhalefetse illa da
             Dm     G     C
Dilini kesiverirler bir anda

F       G      C     E
Bunları düşünmeden yaşarsın
Am    G      C     A
Olanlara üzülme hiç  ah
Dm       G      C           A
Ben sana akıllı desem de salaksın
Dm     G       C
Lafıma gücenme hiç

C                Dm  G
Terörü tartışalım
C               Dm  G
Tivide buluşalım
C             Dm     G
Meydana doluşalım da inşallah
C           Dm     G    C
Havaya uçuverirsek mazallah

C                Dm  G
Doğuda savaşalım mı
C                Dm  G
Batıya yanaşalım mı
C              Dm  G        C
Kahvede konuşalım  da ey ağalar
                 Dm     G      C
Memleketin anaları  karalar bağlar

F       G      C     E
Bunları düşünmeden yaşarsın
Am    G      C     A
Olanlara üzülme hiç  ah
Dm       G      C           A
Ben sana akıllı desem de salaksın
Dm     G       C
Lafıma gücenme hiç

C  Dm  G

C               Dm  G
Kimisi direniyor
C              Dm  G
Öteki bileniyor
C              Dm    G      C
Çocuklar gülemiyorsa bir yandan
            Dm     G    C
İpini çekiverirler dünyadan

C              Dm  G
Atanı anıyorsun
C                Dm  G
Yatanı sayıyorsun
C             Dm      G    C
Vatanı seviyorsun  da maşallah
             Dm     G    C
Satanı görüverirsin inşallah

F       G      C     E
Bunları düşünmeden yaşarsın
Am    G      C     A
Olanlara üzülme hiç  ah
Dm       G      C           A
Ben sana akıllı desem de salaksın
Dm     G       C
Lafıma gücenme hiç

Dm     G       C   Dm
Lafıma gücenme hiç sen
Dm      G      C
Lafıma gücenme hiç

End of song Play again?

Ari Barokas - Salaksın Tabs

NotesX

Harmony analysis

Ari Barokas – Salaksın: key and chord analysis

The song opens on C and ends on C. 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 C major side because it both starts and finishes on C, C is heard 46 times against 3 for Am and the major V chord points straight at Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

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	46×
ii	Dm	Supertonic — prepares the dominant	D · F · A	35×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	3×
IV	F	Subdominant — moves away from home	F · A · C	3×
V	G	Dominant — strongest pull home	G · B · D	40×
vi	Am	Relative minor — the melancholy side	A · C · E	3×
V/ii	A	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	6×
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	3×
V/iv	A	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	46×
iv	Dm	Subdominant — moves away from home	D · F · A	35×
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	3×
VI	F	Submediant — warm colour	F · A · C	3×
VII	G	Subtonic — steps back to the tonic	G · B · D	40×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 136 times in total; 5 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. A acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

G C CV → Iauthentic cadence AmVII → III ×40
Dm G Cii → Vii → V Amiv → VII ×34
E Am CV/vi → vi AmV → iharmonic-minor cadence ×3
F G CIV → VIV → V AmVI → VIIVI → VII ×3

The move to watch is G → C, heard 40 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → III. 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 C, land on C, E, G — 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.
Over Dm, land on D, F, A — 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 first chord is C; the ear learns where home is within a second. The chords that keep coming back are C, G, Dm, A; read them as I–V–ii–V/ii in C or III–VII–iv–V/iv in Am. A is the interesting twist: in C it is a chromatic chord (V/ii), while in Am it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. The final chord is C; the ear comes to rest in C.

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.