Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Hülya Avşar - Ahım Olsun Hakan Altun - Chord
Key A major – F# minor Chords C#m7, F#m7, Bm7, Dmaj7, D, E, Amaj7, E7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m7 C#m7 E Bm7 Amaj7 C#m7 Bm7 Keşke hiç başlamasaydık, keşke yoktu aşkta hani C#m7 Bm7 Keşke Hiç sevişmeseydik, keşkeler artık fani F#m7 Dmaj7 C#m7 Bm7 Dmaj7 C#m7 Bir parça hakkın varsaaaaaa, yalanlarınla avunsun Dmaj7 C#m7 Bm7 C#m7 Bm7 C#m7 Bir parça hakkım varsaaaaaa, haram zehir zıkkım olsun F#m7 D F#m7 Ahım olsun sen de benim gibi yan yan yan yan C#m7 Bm7 Bu alev nasılmış gel de gör dayan dayan dayan F#m7 D F#m7 Öldüm bittim yine dedim ki yar yar yar yar C#m7 Bm7 C#m7 Sevenlerin oldun diyar diyar diyar diyar F#m7 D F#m7 Ahım olsun sen de benim gibi yan yan yan yan C#m7 Bm7 Bu alev nasılmış gel de gör dayan dayan dayan F#m7 D F#m7 Öldüm bittim yine dedim ki yar yar yar yar C#m7 Bm7 C#m7 Dmaj7 E7 F#m7 Sen ellerin oldun diyar diyar diyar zaaaalim yar C#m7 Bm7 F#m7 Sen ellerin oldun diyar diyar diyar zalim yar
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Hülya Avşar - Ahım Olsun Hakan Altun Tabs
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Harmony analysis
Hülya Avşar – Ahım Olsun Hakan Altun: key and chord analysis
The song opens on F#m7 and ends on F#m7. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because it both starts and finishes on F#m and F#m is heard 12 times against 1 for A. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 | Amaj7 | Tonic — home | A · C# · E · G# | 1× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 11× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 15× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 4× |
| IV | D | Subdominant — moves away from home | D · F# · A | 4× |
| V | E | Dominant — strongest pull home | E · G# · B | 1× |
| V7 | E7 | Dominant — strongest pull home | E · G# · B · D | 1× |
| vi7 | F#m7 | Relative minor — the melancholy side | F# · A · C# · E | 12× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | F#m7 | Tonic — home | F# · A · C# · E | 12× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| IIImaj7 | Amaj7 | Relative major — the bright side | A · C# · E · G# | 1× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 11× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 15× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 4× |
| VI | D | Submediant — warm colour | D · F# · A | 4× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 1× |
| VII7 | E7 | Subtonic — steps back to the tonic | E · G# · B · D | 1× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 8 different chords appear 49 times in total; 8 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
- Bm7 F#m7 Aii7 → vi7 F#miv7 → i7minor plagal ×4
- D F#m7 AIV → vi7 F#mVI → i7VI → i ×4
- C#m7 F#m7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×2
- E7 F#m7 AV7 → vi7deceptive cadence F#mVII7 → i7Aeolian arrival ×1
- Dmaj7 E7 AIVmaj7 → V7IV → V F#mVImaj7 → VII7VI → VII ×1
The move to watch is Bm7 → F#m7, heard 4 times. From the F#m side it is iv7 → i7 (minor plagal: deep and melancholic); from the A side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is F#m7; the ear learns where home is within a second. C#m7, F#m7, Bm7, Dmaj7 carry the song: iii7–vi7–ii7–IVmaj7 relative to A, v7–i7–iv7–VImaj7 relative to F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → F#m7 (ii7 → vi7 in A, iv7 → i7 in F#m): minor plagal — deep and melancholic. The final chord is F#m7; the ear comes to rest in F#m.
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.
Hülya Avşar - Ahım Olsun Hakan Altun 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: Hakan AltunMusic: Hakan Altun, Aydın KaraArrangement: Aydın Kara
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