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)
Simge Gezmiş - Koş Koş Koş - Chord
Key C major – A minor Chords Fmaj7, G, Am, Em7, C, Dm7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Fmaj7 G
Ben düştüm bugün
Fmaj7 G
Gökyüzünden, gördüm bütün
Am
Düşlerimi, düşüşlerimi
Fmaj7 G
Ben gördüm bugün
Fmaj7 G
Aşk yüzünden, tüm kördüğüm
Am
Gölgelerimi, kilitlerimi
Fmaj7 Em7 Dm7
Belki durur bu rüzgar
Em7 Fmaj7 Em7
Bek ler kuytuda bir bahar
Am Fmaj7 Am
Aşk yüzünden, aşk yüzünden
Am Fmaj7
Koş koş koş nereye kadar
C G
Bu dünyanın bir sonu var
Am
Ama bende dur yok
Fmaj7
Dur dur dur dur da bi nefes al
C G
Derler ama benim düşlerim var
Am Fmaj7
Düşüşlerimden gördüm gökyüzünü
C G
Düşüm kadar gökyüzüm var
Ve bu yüzden
Am Fmaj7
Uç uç uç uç sonuna kadar
C G
Onlar görmez benim kanatlarım var
Am G Fmaj7 Am G Fmaj7
Tutarsan e limden, e limden
Fmaj7 G
Ben gördüm bugün
Fmaj7 G
Gözlerimden aldım bütün
Am
Nefeslerimi, kafeslerimi
Fmaj7 Em7 Dm7
Belki çoşar bu rüzgar
Em7 Fmaj7 Em7
Ço şar durur bir bahar
Am Fmaj7 Am
Aşk yüzünden, aşk yüzünden
Fmaj7 G
Ben uçtum bugün
Am G Fmaj7
E linden
End of song Play again?
Simge Gezmiş - Koş Koş Koş Tabs
NotesX
Harmony analysis
Simge Gezmiş – Koş Koş Koş: key and chord analysis
The song opens on Fmaj7 and ends on Fmaj7. 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 Am is heard 14 times against 4 for C. 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 | 4× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 2× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 6× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 20× |
| V | G | Dominant — strongest pull home | G · B · D | 14× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 14× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 14× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 4× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 2× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 6× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 20× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 14× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 60 times in total; 6 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
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×8
- Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×7
- Fmaj7 C CIVmaj7 → Iplagal cadence AmVImaj7 → III ×4
- Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×3
- Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×2
The move to watch is G → Am, heard 8 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 Fmaj7, land on F, A, 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.
- Over Am, land on A, C, E — 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Fmaj7 lays a solid floor for everything that follows. Fmaj7, G, Am, Em7 carry the song: IVmaj7–V–vi–iii7 relative to C, VImaj7–VII–i–v7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. Ending on Fmaj7, the song seals C 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.
Simge Gezmiş - Koş Koş Koş 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: Saki ÇimenArrangement: Saki Çimen
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