Fettah Can - Kahpe Diller - Chord

Key C major – A minor Chords Em7, Fmaj7, G, Am, Dm7, Am7 Difficulty already in its easiest key

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Capo 0

Am
Boş bir sayfaya baktım dün gece
        Dm7
Hüzünlendim kalemin ucundan aktım
Em7               Fmaj7
Efkâr nasıl bir efkarsa bu
        G                  Am
Bırakmıştım yeniden sigara yaktım

Am
Göz ucuyla aynaya baktım dün gece
       Dm7
Değişmişim eskiden ne kıyaktım
   Em7              Fmaj7
Yıllar sanma ki seni unutturdu
      G            Am
Bir kadeh şerefine attım

    Dm7      Em7        Fmaj7   G
Olmuyor, olmuyor, ne yapsam olmuyor

Am7                  Fmaj7
Bırakıp gitsem buraları
                        Em7
Ardımdan ağlar mı birileri
                  G
Kimse üzülsün istemem
                      Fmaj7
Veremedim gereken değeri
                Dm7
Yalvarıp yakarmadan
                  G
Caydırır mı birileri
                 Em7
Zamanı geriye alsam
                    Am7
Susar mı kahpe dilleri

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Fettah Can - Kahpe Diller Tabs

NotesX

Harmony analysis

Fettah Can – Kahpe Diller: key and chord analysis

The song opens on Am and ends on Am7. 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 A minor side because it both starts and finishes on Am and Am is heard 6 times while C never appears. 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	4×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	5×
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	5×
V	G	Dominant — strongest pull home	G · B · D	5×
vi	Am	Relative minor — the melancholy side	A · C · E	4×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	2×
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	4×
i7	Am7	Tonic — home	A · C · E · G	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	4×
v7	Em7	Minor dominant — soft pull	E · G · B · D	5×
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	5×
VII	G	Subtonic — steps back to the tonic	G · B · D	5×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 25 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

Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×3
G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
G Am7 CV → vi7deceptive cadence AmVII → i7Aeolian arrival ×1
Dm7 G Cii7 → Vii → V Amiv7 → VII ×1
Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×1

The move to watch is Fmaj7 → G, heard 3 times. From the Am side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the C 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

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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
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.

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 Am lays a solid floor for everything that follows. The backbone is Em7, Fmaj7, G, Am — iii7–IVmaj7–V–vi from the C side, v7–VImaj7–VII–i from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fmaj7 → G (IVmaj7 → V in C, VImaj7 → VII in Am): VI → VII — the rising step that heads for the tonic. The final chord is Am7; the ear comes to rest in Am.

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.