MFÖ - Adımız Miskindir - Chord

Key Gb major – Eb minor Chords D#m, C#, G#, F#, G#m Easy key G

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Capo 0

D#m       C#     D#m   G#  
Adımız miskindir bizim        
D#m       C#    D#m   G# 
Düşmanımız kindir bizim  

F#                       G#m                  
Biz kimseye kin tutmayız kamu alem birdir bize
D#m        C#      D#m                           
Kamu alem birdir bize                                

D#m           C#    D#m   G# 
Biz dünyadan gider olduk
D#m          C#    D#m   G# 
Kalanlara selam olsun

F#                        G#m                      
Bilmeyen ne bilsin bizi, bilenlere selam olsun 
D#m         C#    D#m          
Bilenlere selam olsun

End of song Play again?

MFÖ - Adımız Miskindir Tabs

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Harmony analysis

MFÖ – Adımız Miskindir: key and chord analysis

The song opens on D#m and ends on D#m. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

Major view

Gb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

Eb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Cb (the minor's melancholy)
b7 = Db (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb minor side because it both starts and finishes on Ebm and Ebm is heard 12 times against 2 for Gb. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 Gb major
Degree	Chord	Role	Notes	In song
I	F#	Tonic — home	F# · A# · C#	2×
ii	G#m	Supertonic — prepares the dominant	G# · B · D#	2×
V/V	G#	Secondary dominant V/V — leads to C#secondary dominant	G# · B# · D#	4×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V/vi	Bb	Secondary dominant V/vi — leads to D#msecondary dominant	Bb · D · F	—
IV	Cb	Subdominant — moves away from home	Cb · Eb · Gb	—
V	C#	Dominant — strongest pull home	C# · E# · G#	6×
vi	D#m	Relative minor — the melancholy side	D# · F# · A#	12×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	D#m	Tonic — home	D# · F# · A#	12×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	F#	Relative major — the bright side	F# · A# · C#	2×
iv	G#m	Subdominant — moves away from home	G# · B · D#	2×
IV	G#	Major IV — Dorian / melodic-minor colourmodal colour	G# · B# · D#	4×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	—
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	Cb	Submediant — warm colour	Cb · Eb · Gb	—
VII	C#	Subtonic — steps back to the tonic	C# · E# · G#	6×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 26 times in total; 4 of them sit naturally inside the shared scale. G# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

C# D#m GbV → videceptive cadence EbmVII → iAeolian arrival ×6
G#m D#m Gbii → vi Ebmiv → iminor plagal ×2

The move to watch is C# → D#m, heard 6 times. From the Ebm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Gb side it reads V → vi (deceptive cadence: expected Gb, lands on Ebm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
Over D#m, land on D#, F#, A# — 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 G#, land on G#, B#, D# — 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 Gb major shapes

Capo 2 + E shapes
Capo 4 + D shapes
Capo 6 + C shapes

With Eb minor shapes

Capo 1 + Dm shapes
Capo 6 + Am shapes

Easiest keys on guitar

1 semitone up
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

Starting on D#m, the song gives away its key from the very first bar. D#m, C#, G#, F# carry the song: vi–V–V/V–I relative to Gb, i–VII–IV–III relative to Ebm. G# adds a moment of surprise: secondary dominant V/V — leads to C#. Keep an ear on C# → D#m (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. Ending on D#m, the song seals Ebm as home.

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.