Ayla Çelik - Mecbur - Chord

Key C major – A minor Chords Am, Dm, E, Bm7b5, Em, F Difficulty already in its easiest key

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Capo 0

Am
 
Am
Mecbur mecbur
     Dm            Am
Bu hayat hep mi mecbur

MecBur mecbur
    Dm            Am
Takılıp kaldık mecbur

   Dm
Ah kalbim yeni yetme
   Am
Bildiğini söyletme
   Bm7b5
Ne olur beni ona etme
   E      Am 
Mecbur mecbur

   Dm
Vallahi çok sevdim
   Am
Billahi çok sevdim
   Bm7b5
Kendimden vazgeçtim
   E      Am
Mecbur mecbur

E  Am

   Em            Dm
Zalimi güldürdün ya
                Am
Seveni öldürdün ya
     Em          Dm
Beni sahipsiz buldun
      F             E
Gelişine vur vur dünya

   Dm
Ah kalbim yeni yetme
   Am
Bildiğini söyletme
   Bm7b5
Ne olur beni ona etme
   E      Am 
Mecbur mecbur

   Dm
Vallahi çok sevdim
   Am
Billahi
   Bm7b5
Kendimden vazgeçtim
   E      Am
Mecbur mecbur

   Em            Dm
Zalimi güldürdün ya
                Am
Seveni öldürdün ya
     Em         Dm
Yine eyvah ki eyvah
     F             E
İnadına dön dur dünya

End of song Play again?

Ayla Çelik - Mecbur Tabs

NotesX

Harmony analysis

Ayla Çelik – Mecbur: key and chord analysis

The song opens on Am and ends on E. 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 it opens on Am, Am is heard 15 times while C never appears and 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	10×
iii	Em	Mediant — a tonic-family shade	E · G · B	4×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	7×
IV	F	Subdominant — moves away from home	F · A · C	2×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	15×
viiø7	Bm7b5	Leading-tone chord — tension	B · D · F · A	4×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	15×
iiø7	Bm7b5	Supertonic — prepares the dominant	B · D · F · A	4×
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	10×
v	Em	Minor dominant — soft pull	E · G · B	4×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	7×
VI	F	Submediant — warm colour	F · A · C	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 42 times in total; 5 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; seen from C, the same E is V/vi, a secondary dominant heading for Am.

Chord movement

Dm Am Cii → vi Amiv → iminor plagal ×8
E Am CV/vi → vi AmV → iharmonic-minor cadence ×5
Bm7b5 E Cviiø7 → V/vi Amiiø7 → Vii° → V ×4

The move to watch is Dm → Am, heard 8 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → vi. 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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.

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 opening Am lays a solid floor for everything that follows. Am, Dm, E, Bm7b5 carry the song: vi–ii–V/vi–viiø7 relative to C, i–iv–V–iiø7 relative to Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. The final chord is E; the ear comes to rest in C.

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.