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)
Oğuzhan Koç - Yok Sanayım - Chord
Key C major – A minor Chords Em7, Dm7, Fmaj7, Am7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am7 Dm7 Em7 Fmaj7
Am7 Dm7 Em7 Am7
Am7 Dm7
Gün biter, çilem dolar, yaram bağlar kabuk
Em7 Dm7 Em7
Gül solar, bülbül susar odam kuru soğuk
Am7 Dm7
Yetmedi ne aldığım ne verdiğim sana
Em7 Dm7 Em7
Bitmedi bu aşk bence yazık olur bana
Fmaj7 Em7
Beni artık yorma kurbanın olayım
Dm7 Em7 Fmaj7
Hamdım, düştüm dalından, sorma
Em7 Dm7 Em7 Fmaj7
Nefes alamıyorum aş kım dan
Fmaj7 Em7
Vurma kurbanın olayım
Dm7 Em7 Fmaj7
Düştüm kalkmam sonunda, sorma
Dm7
Nefes alamıyorum aşkımdan
Am7 Em7
Kimi sevdi ki kalbim başka
Dm7 Em7
Cesaret edip de nasıl sana sorayım
Fmaj7 Em7
Biri varsa bile sen söyleme
Dm7 Em7
Ben yine yok sanayım
Fmaj7 Em7
Kimi öptü dudakların
Dm7 Em7
Ne olur bir tek ben olayım
Fmaj7 Em7
Biri varsa bile sen söyleme
Dm7 Em7
Ben yine yok sanayım
Fmaj7 Em7
Biri varsa bile sen söyleme
Dm7 Em7
Ben yine yok sanayım
Am7 Dm7 Em7 Fmaj7
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Oğuzhan Koç - Yok Sanayım Tabs
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Harmony analysis
Oğuzhan Koç – Yok Sanayım: key and chord analysis
The song opens on Am7 and ends on Fmaj7. 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 opens on Am and Am is heard 7 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 | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 16× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 23× |
| 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 | 11× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 7× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 7× |
| 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 | 16× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 23× |
| 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 | 11× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 57 times in total; 4 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
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×3
- Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×1
- Fmaj7 Am7 CIVmaj7 → vi7 AmVImaj7 → i7VI → i ×1
The move to watch is Em7 → Am7, heard 3 times. From the Am side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi7. 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 Dm7, land on D, F, A — 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.
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 first chord is Am7; the ear learns where home is within a second. The chords that keep coming back are Em7, Dm7, Fmaj7, Am7; read them as iii7–ii7–IVmaj7–vi7 in C or v7–iv7–VImaj7–i7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am7 (iii7 → vi7 in C, v7 → i7 in Am): natural-minor cadence — gentle, modal arrival. It closes on Fmaj7, 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.
Oğuzhan Koç - Yok Sanayım 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 KoçMusic: Oğuzhan KoçArrangement: Çağrı Telkıvıran
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