Emre Fel - Mahşerinde Yan İnşallah - Chord

Key Eb major – C minor Chords Gm, Ab, Fm, Bb, Cm Easy key C (capo 3)

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Capo 0

Gm  Ab  Fm  Gm  Ab  Bb  Ab  Fm  Gm

Gm         Ab
Yar başım’ ardı dumanda
Gm       Fm
Vurma, günahımı alma
Cm      Bb           Fm           Gm
Aklın o cani yalanda, salmadın gitti

Gm       Ab
Mazlumun ahını al da
Gm      Fm
Devranı döndür o anda
Cm      Bb            Fm          Gm
Sabredemem, bu baharda açmadan bitti

Gm
Yandım Allah 
Ab       Fm   Gm            Ab
Kör dikenlere döndüm valla, elleme
Bb         Ab
Zail oldum kâh gönüllere
Fm               Gm
Mahşerinde yan inşallah

Gm  Ab  Fm  Gm  Ab  Bb  Ab  Fm  Gm

Gm          Ab
Gel güzelim beni anla
Gm        Fm
Haybeden oldu, bir anda
Cm         Bb           Fm          Gm
Kaybedecek neyin var da sormadan gittin

Gm         Ab
Merhametin ne tarafta
Gm     Fm
Zahir olur mu bir anda
Cm      Bb           Fm          Gm
Aklım o fani cihanda sevmeden yitti

Gm
Yandım Allah 
Ab       Fm   Gm            Ab
Kör dikenlere döndüm valla, elleme
Bb         Ab
Zail oldum kâh gönüllere
Fm               Gm
Mahşerinde yan inşallah

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Emre Fel - Mahşerinde Yan İnşallah Tabs

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Harmony analysis

Emre Fel – Mahşerinde Yan İnşallah: key and chord analysis

The song opens on Gm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because Cm is heard 4 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	16×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	24×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	16×
V	Bb	Dominant — strongest pull home	Bb · D · F	8×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	4×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	4×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	16×
v	Gm	Minor dominant — soft pull	G · Bb · D	24×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	16×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	8×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 68 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

Fm Cm Ebii → vi Cmiv → iminor plagal ×4
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×4

The move to watch is Fm → Cm, heard 4 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. Gm, Ab, Fm, Bb carry the song: iii–IV–ii–V relative to Eb, v–VI–iv–VII relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. It closes on Gm, letting the Eb 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.