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)
Müslüm Gürses - İtirazım Var - Chord
Key Eb major – C minor Chords Cm, Fm, G, Ab Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm
İtirazım var bu zalim kadere
Fm G
İtirazım var bu sonsuz kedere
Fm
Feleğin sillesine, hayatın cilvesine
Cm G
Dertlerin cümlesine
Cm
İtirazım var
Cm
Yarım kalan sevgiye
G
Şu emanet gülmeye
Yaşamadan ölmeye
Cm
İtirazım var
Cm Fm Cm
Ben hep yenilmeye mahkum muyum
Cm Fm Cm
Ben hep ezilmeye mecbur muyum
Fm G
İtirazım var bu yalan dolana
Fm Cm G
Benim şu dertlere ne borcum var ki
Cm
Tuttu yakamı bırakmıyor
Fm Ab
Benim mutlulukla ne zorum var ki
G Ab G Cm
Bana cehennemi aratmıyor
Cm
İtirazım var değişmez yazıma
Fm G
İtirazım var bu dertli şansıma
Fm
Sevginin sahtesine, hayatın cilvesine
Cm G
Dertlerin böylesine
Cm
İtirazım var
Cm
Yalan dolu gözlere
G
Durulmamış sözlere
Dost olmayan yüzlere
Cm
İtirazım var
Cm Fm Cm
Ben hep yenilmeye mahkum muyum
Cm Fm Cm
Ben hep ezilmeye mecbur muyum
Fm G
İtirazım var bu yalan dolana
Fm Cm G
Benim şu dertlere ne borcum var ki
Cm
Tuttu yakamı bırakmıyor
Fm Ab
Benim mutlulukla ne zorum var ki
G Ab G Cm
Bana cehennemi aratmıyor
End of song Play again?
Müslüm Gürses - İtirazım Var Tabs
/videos/muslum-gurses-itirazim-var-tab.mp4
NotesX
Harmony analysis
Müslüm Gürses – İtirazım Var: key and chord analysis
The song opens on Cm and ends on Cm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
- #7 = B (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 C minor side because it both starts and finishes on Cm, Cm is heard 24 times while Eb never appears and the major V chord points straight at Cm. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 14× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 14× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 4× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 24× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 24× |
| 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 | 14× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 14× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 4× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 56 times in total; 3 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm.
Chord movement
- G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×8
- Fm Cm Ebii → vi Cmiv → iminor plagal ×8
- Fm G Ebii → V/vi Cmiv → Viv → V ×4
The move to watch is G → Cm, heard 8 times. From the Cm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V/vi → 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 Cm, land on C, Eb, G — 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- When G comes, swap the scale's Bb for B: 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 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 Cm, the song gives away its key from the very first bar. The backbone is Cm, Fm, G, Ab — vi–ii–V/vi–IV from the Eb side, i–iv–V–VI from the Cm side. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → Cm (V/vi → vi in Eb, V → i in Cm): harmonic-minor cadence — the major V resolves dramatically. It closes on Cm, letting the Cm 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.
Müslüm Gürses - İtirazım Var Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: İlhan Behlül Pektaş Music: Rıfat ŞanlıelArrangement: Burhan Bayar
Orhan Akdeniz
Orhan Akdeniz
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