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)
Ayna - Kiziroğlu - Chord
Key C major – A minor Chords Am, G, Em, Dm, D Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Dm Am G Am G Am Bir hışımla geldi geçti peh peh peh Em D G Em Kiziroğlu Mustafa Bey hey hey hey Em Şu dağları deldi geçti Em Ağan kim paşan kim hanım kim nigar kim kim kim kim kim Dm Am G Am Kiziroğlu Mustafa Bey bir beyin oğlu zor beyin oğlu Dm Am G Am G Am Ah onla sırdaş olaydım peh peh peh Em D G Em Anadan onbeş olaydım hey hey hey Em Ben onla kardeş olaydım Em Ağam kim paşam kim, hanım kim nigar kim, kim kim kim kim Dm Am G Am Kiziroğlu Mustafa Bey bir beyin oğlu zor beyin oğlu Dm Am G Am G Am Hay edenden haya tepe peh peh peh Em D G Em Huy edenden huya tepe hey hey hey Em Köroğlunu suya tepe Em Ağan kim paşan kim hanım kim nigar kim kim kim kim kim Dm Am G Am Kiziroğlu Mustafa Bey bir beyin oğlu zor beyin oğlu
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Ayna - Kiziroğlu Tabs
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Harmony analysis
Ayna – Kiziroğlu: key and chord analysis
The song opens on Dm and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.
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 comes to rest on Am and Am is heard 15 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 6× |
| V/V | D | Secondary dominant V/V — leads to Gsecondary dominant | D · F# · A | 3× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 12× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | 12× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 15× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 15× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 6× |
| IV | D | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A | 3× |
| v | Em | Minor dominant — soft pull | E · G · B | 12× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 12× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 48 times in total; 4 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×9
- Dm Am Cii → vi Amiv → iminor plagal ×6
The move to watch is G → Am, heard 9 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 Am, land on A, C, E — 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.
- Over Em, land on E, G, B — 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 Dm lays a solid floor for everything that follows. The backbone is Am, G, Em, Dm — vi–V–iii–ii from the C side, i–VII–v–iv from the Am side. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. Ending on Am, the song seals Am 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.
Ayna - Kiziroğlu 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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