Simge - Miş Miş - Chord

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

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Capo 0

Em                         Fm 
La la la la la la   la  la
Em                         Fm 
La la la la la la   la  la
Em                         Fm 
La la la la la la   la  la
Em    F    G    F    E
La la la la la la la la

Em
Nedir bu haller, hadi açıl yeter
Ne kaçak, ne göçek, ne tuzak
E aman of slalom hep hep hep zigzag

Dost kalalım iyi hoşta
Anlayamam endişelerini
Geceleri tek doz yutalım mı
Boş elveda klişilerini

Nedir bu haller, hadi açıl yeter 
Ne kaçak, ne göçek, ne tuzak
E aman of slalom hep hep hep zigzag

Em                 Fm
Sorun bende mi sendeymiş
Em                Fm
Daha iyisine layıkmışım
Em                 Fm
Hangi kitaptan ezber bu
Em
Miş miş miş de muş muş muş

Em                  Fm 
Yayayaya yanyan yan dan
Em                  Fm 
Pembesi beyazı sür boyan
Em                  Fm
Kanadı da olsa tam melek
Em                       Fm     Em     
Hadi tak oldun işte yine güzel insan

Em
Nedir bu haller, hadi açıl yeter
Ne kaçak, ne göçek, ne tuzak
E aman of slalom hep hep mi zigzag


Söyle içinden bana geçeni
İyisini birde harbisini
Güzel adam olacağına böyle
             Fm      Em
Özel adam ol kal kalbimde 

Em
Her ayrılığın da bir tadı tuzu var
                Fm       Em
Kaçırma bana yeni bir şey söyle

End of song Play again?

Simge - Miş Miş Tabs

NotesX

Harmony analysis

Simge – Miş Miş: key and chord analysis

The song opens on Em and ends on Em. 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 A minor side because the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 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	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	18×
III	E	Chromatic colour chordoutside the key	E · G# · B	1×
IV	F	Subdominant — moves away from home	F · A · C	2×
iv	Fm	Minor iv — borrowed from the parallel minorborrowed chord	F · Ab · C	12×
V	G	Dominant — strongest pull home	G · B · D	1×
vi	Am	Relative minor — the melancholy side	A · C · E	—
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	—
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	—
v	Em	Minor dominant — soft pull	E · G · B	18×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	1×
VI	F	Submediant — warm colour	F · A · C	2×
vi	Fm	Chromatic colour chordoutside the key	F · Ab · C	12×
VII	G	Subtonic — steps back to the tonic	G · B · D	1×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 34 times in total; 3 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. Fm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F G CIV → VIV → V AmVI → VIIVI → VII ×1

The move to watch is F → G, heard once. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C 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

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 Em, land on E, G, B — 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.
Over F, land on F, A, C — 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.
On Fm, follow the chord's notes (F · Ab · C) rather than the key's scale — it's a borrowed colour.

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 Em; the ear learns where home is within a second. The chords that keep coming back are Em, Fm, F, G; read them as iii–iv–IV–V in C or v–vi–VI–VII in Am. E is the interesting twist: in C it is a chromatic chord (III), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. Ending on Em, the song seals C 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.