Mustafa Sandal - Tekrar (Doğu Demirkol) - Chord

Key G major – E minor Chords Em, C, Am, D Difficulty already in its easiest key

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Capo 0

Am  C  Em

Am       C      Em
Hep yalan dolan riyakar insanlar
Am      C     Em
Yapmacık kokan huzursuz ortamlar
Am         C    Em
Hep bi show hava peşinde koşanlar
Am       C     Em
Hep yalan dolan riyakar ortamlar

Am          C
Çok sıkıldım bunaldım
Em
Hadi söyle nerdesin
Am         C 
Bana şimdi ilaç olurdu
Em
Sohbetin gel hadi dön bana

Am    C   Em                   Am
Tekrar tekrar şimdi herşey farklı
   C      Em                   Am
Tekrar tekrar şimdi tekrar sev 
   C      Em                     Am
Tekrar tekrar şimdi sen lazımsın
   C      Em
Tekrar tekrar şimdi tekrar

Em  C  D  Em

Em
Star ışığı vardı ama mum gibi söndün
C
Hepsi benim derken elliye böldün
D
Anyayı konyayı buz gibi gördün
Em
Gel hadi artık maymuna döndün

Em
Çok mu güzeldi o havalı mekanlar
C
Cartier patek rolex takanlar
D
Baymadımı sence nahoş işkence
Em
Gel hadi artık dön bana bence

Am    C   Em                   Am
Tekrar tekrar şimdi herşey farklı
   C      Em                   Am
Tekrar tekrar şimdi tekrar sev
   C      Em                     Am
Tekrar tekrar şimdi sen lazımsın
   C      Em
Tekrar tekrar şimdi tekrar

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Mustafa Sandal - Tekrar (Doğu Demirkol) Tabs

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Harmony analysis

Mustafa Sandal – Tekrar (Doğu Demirkol): key and chord analysis

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

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it comes to rest on Em and Em is heard 21 times while G never appears. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	15×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	18×
V	D	Dominant — strongest pull home	D · F# · A	3×
vi	Em	Relative minor — the melancholy side	E · G · B	21×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	21×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	15×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	18×
VII	D	Subtonic — steps back to the tonic	D · F# · A	3×

Analysis

The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 57 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

C Em GIV → vi EmVI → iVI → i ×15
D Em GV → videceptive cadence EmVII → iAeolian arrival ×3
C D GIV → VIV → V EmVI → VIIVI → VII ×3

The move to watch is C → Em, heard 15 times. From the Em side it is VI → i (VI → i: falls a half step into home); from the G side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am 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 Am; the ear learns where home is within a second. The backbone is Em, C, Am, D — vi–IV–ii–V from the G side, i–VI–iv–VII from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. The final chord is Em; the ear comes to rest in Em.

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.