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)
Oğuzhan Koç - Küskün - Chord
Key C major – A minor Chords Am7, F, Em7, Dm7 Easy key G (capo 5)
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Key: C | Am
Capo: 0
Em7 Dm7 Am7
Am7 F Am7
Bitiyor bir gün daha
F Am7
Gidiyor ömürden ah
F Am7
Masada anılarım
F Em7
Anılarla ağlarım
Ne güzeldi o bahar
Dm7
Gerisi ziyan, zarar
Ne kadar yaşarsam
F Em7 Am7
O kadar iyi hatırlarım
Am7 F Am7
Çıkıyor mu bir yere
F Am7
Bitmiyor yokuşlarım
F Am7
İçiyorsam her gece
F Em7
Çöküyor omuzlarım
Kimse sorsam hep susar
Dm7
Kapılar yine duvar
Sen unuttukça
F Em7 Am7
Ben o kadar iyi hatırlarım
Am7 F Am7 F Em7
Çok eskilerden bir his hatırlatır seni
F
O gemilerden iner mi ah bildik biri
Kalmaz mı birkaç gün
Dm7
Sormaz mı hiç halimi
Em7 Dm7 Am7
Zaten yürek küskün
End of song Play again?
Oğuzhan Koç - Küskün Tabs
NotesX
Harmony analysis
Oğuzhan Koç – Küskün: key and chord analysis
The song opens on Em7 and ends on Am7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it comes to rest on Am and Am is heard 14 times while C never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 5× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 7× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 13× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 14× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 14× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 5× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 7× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 13× |
| 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). 4 different chords appear 39 times in total; 4 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
- F Am7 CIV → vi7 AmVI → i7VI → i ×7
- Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×2
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×2
The move to watch is F → Am7, heard 7 times. From the Am side it is VI → i7 (VI → i: falls a half step into home); from the C side it reads IV → vi7. 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 Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — 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 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Em7; the ear learns where home is within a second. The backbone is Am7, F, Em7, Dm7 — vi7–IV–iii7–ii7 from the C side, i7–VI–v7–iv7 from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Am7 (IV → vi7 in C, VI → i7 in Am): VI → i — falls a half step into home. The final chord is Am7; the ear comes to rest in Am.
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 - Küskün 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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