Ece Seçkin - Aman Aman - Chord

Key A major – F# minor Chords C#m, D, Bm, F#m, E, A, C#7 Easy key C

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Capo 0

F#m  D  A  E

C#m            D         C#m
Verecek hesabın var biliyorsun bana
Bm            D            C#m
Kaçacak delik ara kendine, bi müddet kal orda
             D                  C#m                Bm
Susma, yüzün var mı söylediğin bunca yalanlardan sonra
D           Bm              C#m
Sabrın dayanır mı ki bilemem, yüzüne bakmaya

      Bm              C#m
İçinde kalmasın söyleyeyim de
     Bm             C#m
Bence utanmalısın yaptıklarından
Bm            C#m
Karşına öyle biri çıksın
   Bm              C#7
Bak neler çektim, oyunlarından

      F#m
Aman aman benden uzak dur da

Aman aman başka birşey istemem
      C#m             D
Aman aman benden uzak ol da
       Bm             E     D  C#m
Yokluğunu kendime hiç dert etttmem

      F#m
Aman aman kendini hiç yorma

Aman aman sevme beni istemem
      C#m             D
Aman aman benden uzak ol da
       Bm             E     D  C#m
Yokluğunu kendime hiç dert etttmem

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Ece Seçkin - Aman Aman Tabs

NotesX

Harmony analysis

Ece Seçkin – Aman Aman: key and chord analysis

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

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)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)
#7 = E# (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 F# minor side because it opens on F#m, F#m is heard 3 times against 1 for A and the major V chord points straight at F#m. 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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	1×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	9×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	12×
V7/vi	C#7	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G# · B	1×
IV	D	Subdominant — moves away from home	D · F# · A	9×
V	E	Dominant — strongest pull home	E · G# · B	3×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	3×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	3×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	1×
iv	Bm	Subdominant — moves away from home	B · D · F#	9×
v	C#m	Minor dominant — soft pull	C# · E · G#	12×
V7	C#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G# · B	1×
VI	D	Submediant — warm colour	D · F# · A	9×
VII	E	Subtonic — steps back to the tonic	E · G# · B	3×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 38 times in total; 6 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C#7 is V7/vi, a secondary dominant heading for F#m.

Chord movement

Bm E Aii → Vii → V F#miv → VII ×2
C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×1
D A AIV → Iplagal cadence F#mVI → III ×1
Bm C#7 Aii → V7/vi F#miv → V7iv → V ×1
C#m F#m Aiii → vi F#mv → inatural-minor cadence ×1

The move to watch is Bm → E, heard 2 times. From the F#m side it is iv → VII; from the A side it reads ii → V (ii → V: the classic preparation of the dominant). 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#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
When C#7 comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.

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

Starting on F#m, the song gives away its key from the very first bar. The chords that keep coming back are C#m, D, Bm, F#m; read them as iii–IV–ii–vi in A or v–VI–iv–i in F#m. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Bm → E (ii → V in A, iv → VII in F#m): ii → V — the classic preparation of the dominant. It closes on C#m, letting the A 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.