Güney Marlen - Şarapçı Remzi - Chord

Key G major – E minor Chords Em, Am, B, D Easy key C (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Em                              Am
Ne komşuluk kalmış bu mahallede ne dayanışma
B                                Em
Bana sorarsan en iyisidir Şarapçı Remzi Amca
                               Am
Pek sevilmez ama hep düşene koşar yardıma
B                          Em
Yüreği temiz, elleri biraz pistir anca
                           Am
Çoğu zaman yatar parkta ve giyer koca bir parka
B                          Em
Sakallı ya derler Marx ama Robin Hood aslında
                              Am
Yerde bir gün para bulunca bayram yaşattı çocuklara
B                       Em
Kalan parayla içki aldı yine tam bir kasa

Em                         Am
Deli sanırlar ama Adorno öğretti tüm parka
B                        Em
Anne erken ölünce kalmış zengin ve aksi bir baba
                               Am
Evden kaçmış, tıp kazanmış ama atılmış olaylara karışınca
D                      B
Tutamam demiş silah, asker kaçağı hala

Em
Delirirdi bu dünyada, düşünmedi para mara
Am
Aldı gitti vura vura, kıyılır mı bu adama
B
Birileri kara kara düşünüyor ara ara
Em
Ne olacak bu dünya

Em                         Am
Hiçbir işte tutunamamış, evlenip boşanmış
B                       Em
Dinsiz imansız ve talihsiz bir adammış
                               Am
Bir sevgilisi varmış, arada gelen o kadınmış
B                             Em
Camdaki teyzeler içki kadar buna da kızarmış
                                Am
Mahalle sanki Ağır Roman, geçenler hızlı yürür korkudan
B                           Em
Ceplerini yoklar kimisi ama önyargıdır tabii ki
                             Am
Ağır abiler bir gün mevzuda, ayırmaya gitti Remzi
D                           B
Bir el silah sesi, yıkıldı, aslan gibiydi

Em                    Am
Cenazesinde toplam üç kişi vardı
B                       Em
Biri Allah’ın emri zaten imamdı
Em                Am
Biri ben diğeri de bakkaldı
B                             Em
Bakkal dedi ki "Bana Remzi’nin borcu vardı"

End of song Play again?

Güney Marlen - Şarapçı Remzi Tabs

NotesX

Harmony analysis

Güney Marlen – Şarapçı Remzi: key and chord analysis

The song opens on Em 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 both starts and finishes on Em, Em is heard 17 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	13×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	13×
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	17×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	17×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	13×
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#	13×
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 45 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.

Chord movement

B Em GV/vi → vi EmV → iharmonic-minor cadence ×13
Am B Gii → V/vi Emiv → Viv → V ×11
Am D Gii → Vii → V Emiv → VII ×2

The move to watch is B → Em, heard 13 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — 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.

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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Em lays a solid floor for everything that follows. The chords that keep coming back are Em, Am, B, D; read them as vi–ii–V/vi–V in G or i–iv–V–VII in Em. 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 B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. The final chord is Em; the ear comes to rest in Em.

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.