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 - Bunun Adı Aşksa - Chord
Key F major – D minor Chords C, Bbmaj7, Dm7, Gm7, Am, Fmaj7, Am7, Ebmaj7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Bbmaj7 C Dm7 Fmaj7
Bbmaj7
Sen görmedikten sonra
C Dm7
Ne önemi var benim bi deliye dönmemin
Fmaj7
Bunun adı aşksa, boyumuzu aşsa da
Bbmaj7
Ben bilmedikten sonra
C Gm7
Ne önemi var senin bi beni düşünmenin
Dm7
Benim gibi yansan, yanıma yanaşsan
Bbmaj7
Bana yıl gibi geliyor
C
Bi gün bile öyle zaman acımıyor
Dm7 Fmaj7
Bunun adı aşksa, bırakamam şansa
Delice yaşansa
Bbmaj7
Bayıldım ayılamıyorum
C
Seni duyamıyorum canım acıyor
Gm7 Dm7
Beni yordular, ne vurdular ne sordular
Am Am Am Am
Dm7 C Bbmaj7
Dön gel diyorum, çok üşüyorum
Am7 Gm7 Am7
Bak düşüyorum gözden, çıkmazda yolum
Gm7 Am7 C Ebmaj7
Boş kaldı solum, sonum için çok erken
Ne vurdular ne sordular
End of song Play again?
Oğuzhan Koç - Bunun Adı Aşksa Tabs
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Harmony analysis
Oğuzhan Koç – Bunun Adı Aşksa: key and chord analysis
The song opens on Bbmaj7 and ends on Ebmaj7. 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 Dm is heard 6 times against 3 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 |
|---|---|---|---|---|
| Imaj7 | Fmaj7 | Tonic — home | F · A · C · E | 3× |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 4× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 4× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 3× |
| 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 | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 7× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 6× |
| bVIImaj7 | Ebmaj7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Eb · G · Bb · D | 1× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 6× |
| bIImaj7 | Ebmaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Eb · G · Bb · D | 1× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| IIImaj7 | Fmaj7 | Relative major — the bright side | F · A · C · E | 3× |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 4× |
| v | Am | Minor dominant — soft pull | A · C · E | 4× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 3× |
| 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 | 6× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 7× |
Analysis
The key pair is F major and its relative D minor (1 flat). 8 different chords appear 34 times in total; 7 of them sit naturally inside the shared scale. Ebmaj7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×5
- C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×3
- Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×2
- Am Dm7 Fiii → vi7 Dmv → i7natural-minor cadence ×1
The move to watch is Bbmaj7 → C, heard 5 times. From the Dm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- On Ebmaj7, follow the chord's notes (Eb · G · Bb · D) 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 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 Bbmaj7; the ear learns where home is within a second. The chords that keep coming back are C, Bbmaj7, Dm7, Gm7; read them as V–IVmaj7–vi7–ii7 in F or VII–VImaj7–i7–iv7 in Dm. Ebmaj7 briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Bbmaj7 → C (IVmaj7 → V in F, VImaj7 → VII in Dm): VI → VII — the rising step that heads for the tonic. Ending on Ebmaj7, the song seals F 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 - Bunun Adı Aşksa 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 Koç, Çağrı TelkıvıranMusic: Oğuzhan Koç, Çağrı TelkıvıranArrangement: Çağrı Telkıvıran
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