Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Emir Can İğrek - Bıçaklandım - Chord
Key Bb major – G minor Chords Gm, Eb, F, Cm7, Cm, Bb Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Cm7 Eb F
Gm
Gece vurur kıyılara
F
Gülüşünün fenerleri
Cm7
Hükümet bilse derdimi
Eb Bb
Gece açar tekelleri
Gm
Kafesine kuş olayım
F
Karakoluna suç olayım
Cm
Yoluna asfalt olayım
Eb
Gel gel dinsin
Gm
Of gel dinsin sancım
Geberdim, öldüm, yandım
Cm7
Bu aşkın elinden
Eb F
Bıçaklandım, bıçaklandım
Gm Cm7 Eb F
Gm
Paldır küldür kaldırıldım
F Cm7
Aldın aşkı attın aç köpeklere
Eb
Kaç tüfekle saldırıldı bak bu gönüle
F Gm
Baktım öylece
F Eb
Sadece sadece o güzel yüzün aklımı hırpaladı
Cm Eb Gm
Kaç gece Kaç gece Kaç gece
Gm
Of gel dinsin sancım
Geberdim, öldüm, yandım
Cm7
Bu aşkın elinden
Eb F
Bıçaklandım, bıçaklandım
End of song Play again?
Emir Can İğrek - Bıçaklandım Tabs
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Harmony analysis
Emir Can İğrek – Bıçaklandım: key and chord analysis
The song opens on Gm and ends on F. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 9 times against 1 for Bb. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | 1× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 6× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 2× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 9× |
| V | F | Dominant — strongest pull home | F · A · C | 9× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 9× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 9× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 1× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 6× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 2× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 9× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 9× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 36 times in total; 6 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
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×5
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
- Eb Gm BbIV → vi GmVI → iVI → i ×2
- Eb Bb BbIV → Iplagal cadence GmVI → III ×1
The move to watch is Eb → F, heard 5 times. From the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Bb 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
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — 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.
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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. The backbone is Gm, Eb, F, Cm7 — vi–IV–V–ii7 from the Bb side, i–VI–VII–iv7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → F (IV → V in Bb, VI → VII in Gm): VI → VII — the rising step that heads for the tonic. It closes on F, letting the Bb 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.
Emir Can İğrek - Bıçaklandım Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Emir Can İğrekMusic: Emir Can İğrekArrangement: Yiğit Avcı
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