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)
Erkin Arslan - Aşk Ne Güzel Şey (Buray - Evrencan Gündüz) - Chord
Key C major – A minor Chords Cmaj7, Fmaj7, Am, E, G, Dm7, Fm Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Fmaj7 Cmaj7
Aaaaaaşk ne güzel şey
Fmaj7 Cmaj7
Aaaaaaşk ne güzel şey
Fmaj7 Cmaj7
Arıyorsun, soruyorsun o sana kendini göstermiyor
Fmaj7 Cmaj7
Çaresiz kalıyorsun, tam o anda sana gülümsüyor
Fmaj7 Cmaj7
Zaten olan biteni aslında sen de anlamıyorsun
Fmaj7 Cmaj7
Bi' bakmışsın sadece (ve sadece) onu istiyorsun
E Am
Üzülenler oluyormuş, olsun
Dm7 Cmaj7
Ne farkeder, hayat da toz pembe değil zaten
E Am
Kırılanlar oluyormuş olsun
Fmaj7 Cmaj7
Ne farkeder, bi sarılsak belki hemen geçer
Fm G
Bi sarılsak belki hemen geçer
Fmaj7 Cmaj7
Aaaaaaşk ne güzel şey
Fmaj7 Cmaj7
Aaaaaaşk ne güzel şey
Fmaj7 Cmaj7
Bererumba zubarererererumba
Fmaj7 Cmaj7
Bererumba zubarererererumba
Fmaj7
Etkisinde kalınca
Cmaj7
Dünya inan değil umurumda
Fmaj7
Kanatlanıp uçarsın
Cmaj7
Senin için her şey tıkırında
Fmaj7
Bir masalın içinde
Cmaj7
Nereye baksan her yer rengarenk
Fmaj7
Yalvarırım bitmesin Allah'ım
Cmaj7
Sürsün hep sonsuza dek
E Am
Üzülenler oluyormuş, olsun
Dm7 Cmaj7
Ne farkeder, hayat da toz pembe değil zaten
E Am
Kırılanlar oluyormuş olsun
Fmaj7 Cmaj7
Ne farkeder, bi sarılsak belki hemen geçer
Fm G
Bi sarılsak belki hemen geçer
G Am G Fmaj7 Cmaj7
Aaaaaaşk ne güzel şey
Fmaj7 Cmaj7
Aaaaaaşk ne güzel şey
End of song Play again?
Erkin Arslan - Aşk Ne Güzel Şey (Buray - Evrencan Gündüz) Tabs
NotesX
Harmony analysis
Erkin Arslan – Aşk Ne Güzel Şey (Buray - Evrencan Gündüz): key and chord analysis
The song opens on Fmaj7 and ends on Cmaj7. 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)
- #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 C major side because it comes to rest on C, C is heard 20 times against 5 for Am and the major V chord points straight at Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Cmaj7 | Tonic — home | C · E · G · B | 20× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 2× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 4× |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 18× |
| iv | Fm | Minor iv — borrowed from the parallel minorborrowed chord | F · Ab · C | 2× |
| V | G | Dominant — strongest pull home | G · B · D | 4× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 5× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 5× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 20× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 2× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 4× |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 18× |
| vi | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 4× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 55 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. Fm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Fmaj7 Cmaj7 CIVmaj7 → Imaj7plagal cadence AmVImaj7 → IIImaj7 ×18
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×4
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
The move to watch is Fmaj7 → Cmaj7, heard 18 times. From the C side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Am side it is VImaj7 → IIImaj7. 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 Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Fmaj7, land on F, A, C — 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.
- When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
- On Fm, follow the chord's notes (F · Ab · C) rather than the key's scale — it's a borrowed colour.
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 first chord is Fmaj7; the ear learns where home is within a second. The backbone is Cmaj7, Fmaj7, Am, E — Imaj7–IVmaj7–vi–V/vi from the C side, IIImaj7–VImaj7–i–V from the Am side. 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 Fmaj7 → Cmaj7 (IVmaj7 → Imaj7 in C, VImaj7 → IIImaj7 in Am): plagal cadence — the soft 'amen' ending. The final chord is Cmaj7; 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.
Erkin Arslan - Aşk Ne Güzel Şey (Buray - Evrencan Gündüz) 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: Erkin ArslanMusic: Erkin ArslanArrangement: Erkin Arslan
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