Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Oğuzhan Koç - Aşk Dediğin - Chord
Key F major – D minor Chords Dm7, Am7, Gm7, Bbmaj7, C, F, Gm Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm7 Gm7
Dur sakın bana bakma öyle
Gücüm yetmez gözlerine
Bbmaj7 Am7 Dm7
Gördüğün rüya olmaya razıyım
Dm7 Gm7
Çok yakın ama sen de söyle
Güzel şeyler söyle diye
Bbmaj7 Am7 Dm7
Ben kötü adam olmaya razıyım
Gm7 C
İçimde bir ateş ki
F Bbmaj7
Getiremem ben yola
Gm Bbmaj7
El açtım, diz çöktüm
C
Boyun eğdim yağmura
Dm7
Yanar yanar söner ya
Am7
Kanar kanar durur ya
Gm7 Am7
Hep sonradan vurur ya
Dm7
Aşk dediğin
Dm7
Uzakları aşar ya
Am7
Tuzaklara düşer ya
Gm7 Am7
Yasaklara direnmek
Dm7
İstediğim
Dm7 Am7 Gm7 Am7 Dm7
Gm7 Am7 Dm7
Ben senin yanındayken mutluyum
Gm7 Am7 Dm7
Ben sen yanımdayken
End of song Play again?
Oğuzhan Koç - Aşk Dediğin Tabs
NotesX
Harmony analysis
Oğuzhan Koç – Aşk Dediğin: key and chord analysis
The song opens on Dm7 and ends on Dm7. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it both starts and finishes on Dm and Dm is heard 12 times against 1 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | 1× |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 8× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 1× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 10× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 4× |
| V | C | Dominant — strongest pull home | C · E · G | 2× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 12× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 12× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 1× |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 8× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 1× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 10× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 4× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 2× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 38 times in total; 7 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×7
- C F FV → Iauthentic cadence DmVII → III ×1
- C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×1
- Gm7 C Fii7 → Vii → V Dmiv7 → VII ×1
- Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×1
The move to watch is Am7 → Dm7, heard 7 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Dm7; the ear learns where home is within a second. The backbone is Dm7, Am7, Gm7, Bbmaj7 — vi7–iii7–ii7–IVmaj7 from the F side, i7–v7–iv7–VImaj7 from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. Ending on Dm7, the song seals Dm 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.
Oğuzhan Koç - Aşk Dediğin 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: Oğuzhan KoçMusic: Oğuzhan KoçArrangement: Çağrı Telkıvıran
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