Son Feci Bisiklet - Müptezel - Chord

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

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Capo 0

C  Em   C             Em                  
Yarın  öleceğimi bilsem 
C    Em     C         Em
Son kez ve hiç düşünmeden

Am      C        B          Em
Hatıram yoktur ama baş ağrım çok
Am          C      B            Em    
Karnım hep toktur bir ihtiyacım yok

C      Em     C              Em
Tam zamanı beklediğin o gecenin
C         Em        C             Em
Gelmeyeceğini bilerek şarkı söylemenin

Am         C        B          Em
Pişmanlık yoktur ama hissiyatım çok
Am        C         B        Em   E 
Erken uyanmaya da ihtiyacım yok

              Am     B   Em  E
Eski bir dost gibi gibi gibi
               Am  B  Em  
Eski bir dost gibi
        F#   F   Em
En önde gel müptezel

C                      Em
Evi bulmanız kolay dedi falan falan falan
C                     Em
Çatısında alevler yanan yanan yanan
C                      Em
Vakit olunca uğrayacağız falan falan falan
C                   Em  
Sarı yeşil ve beyaz arkadan

Am         C      B           Em
Fark etmez artık dedik abarttık
Am         C     B         Em
Yorgana sardık mantık öldüğünde

              Am     B   Em  E
Eski bir dost gibi gibi gibi
               Am  B  Em  
Eski bir dost gibi
        F#   F   Em
En önde gel müptezel

End of song Play again?

Son Feci Bisiklet - Müptezel Tabs

NotesX

Harmony analysis

Son Feci Bisiklet – Müptezel: key and chord analysis

The song opens on C 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)
#7 = D# (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 E minor side because it comes to rest on Em, Em is heard 24 times while G never appears and the major V chord points straight at Em. 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	10×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	10×
IV	C	Subdominant — moves away from home	C · E · G	18×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	24×
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	3×
bVII	F	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F · A · C	2×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V/iii	F#	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C#	2×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	24×
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	3×
bII	F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C	2×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V/v	F#	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C#	2×
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	10×
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#	10×
VI	C	Submediant — warm colour	C · E · G	18×
VII	D	Subtonic — steps back to the tonic	D · F# · A	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 69 times in total; 3 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B is V/vi, a secondary dominant heading for Em. E, F# act as secondary dominants, briefly pointing at another chord of the key. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C Em GIV → vi EmVI → iVI → i ×12
B Em GV/vi → vi EmV → iharmonic-minor cadence ×10
Am B Gii → V/vi Emiv → Viv → V ×4

The move to watch is C → Em, heard 12 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.
When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
On F, follow the chord's notes (F · A · 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 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 opening C lays a solid floor for everything that follows. The backbone is Em, C, Am, B — vi–IV–ii–V/vi from the G side, i–VI–iv–V from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. It closes on Em, letting the Em 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.