Oğuzhan Koç - Al Ahını - Chord

Key C major – A minor Chords C, Em, F, G, Fm Easy key A (capo 3)

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Capo 0

        C    Em                      C      Em
Canımı al seni alma benden, beni de çal vazgeçtim kendimden 
         F                    C
Sevabın kalmasın bana, günahın benim boynuma
        G     F    G   C
Al ahını vazgeçtim senden

Em     F             Em        F            G
Al canımı deme bana, sar beni son bir kez daha

C             Em           F           G
Güler miydin bakar mıydın gözlerimden kaçar mıydın 
C        Em          F           G
Yine seni sevsem de kin tutar mıydın 
C            Em           F                    G           
Gider miydin kalır mıydın sever miydin bakar mıydın
C          Em         F           G  
Senden vazgeçmesem de hep susar mıydın

C                      Em
Bir buse yetmez derken ben senden oldum
       F                  C          G
Al ahını yeter yeter kederlere boğuldum
C                      Em 
Bin derde kurban oldum ben bilmesen de
F              Fm     G         C
Geçse de ah etmem edemem aldım ahını

End of song Play again?

Oğuzhan Koç - Al Ahını Tabs

NotesX

Harmony analysis

Oğuzhan Koç – Al Ahını: key and chord analysis

The song opens on C and ends on C. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

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 C major side because it both starts and finishes on C and C is heard 12 times while Am never appears. 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	12×
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	10×
III	E	Chromatic colour chordoutside the key	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	10×
iv	Fm	Minor iv — borrowed from the parallel minorborrowed chord	F · Ab · C	1×
V	G	Dominant — strongest pull home	G · B · D	9×
vi	Am	Relative minor — the melancholy side	A · C · E	—
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	—
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	12×
iv	Dm	Subdominant — moves away from home	D · F · A	—
v	Em	Minor dominant — soft pull	E · G · B	10×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	10×
vi	Fm	Chromatic colour chordoutside the key	F · Ab · C	1×
VII	G	Subtonic — steps back to the tonic	G · B · D	9×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 42 times in total; 4 of them sit naturally inside the shared scale. Fm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G C CV → Iauthentic cadence AmVII → III ×8
F G CIV → VIV → V AmVI → VIIVI → VII ×6
F C CIV → Iplagal cadence AmVI → III ×2

The move to watch is G → C, heard 8 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → III. 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — 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.
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

3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening C lays a solid floor for everything that follows. The chords that keep coming back are C, Em, F, G; read them as I–iii–IV–V in C or III–v–VI–VII in Am. Fm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. It closes on C, letting the C side have the last word.

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.