Onur Can Özcan - Ah Adam - Chord

Key Eb major – C minor Chords Cm, Ab, Bb, Fm, Gm Easy key G

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Capo 0

Ab  Gm  Fm  Cm

Cm         Fm
 Ah adam yaralı bereli
             Cm
 Ağlıyor içinden geleni
Ab            Gm
 Kalkıyor usulca masasından
Fm           Cm
 Ağlıyor kadehi, mezesi

Cm           Fm
 Ah kadın oralı bile değil
              Cm
 Görmüyor önünden geçeni
Ab           Gm
 Uğruna ömründen geçeni
      Cm
 Görmüyor kadın

  Ab
Aşkın gözü kör, göremez anlarız
Cm
Aşktan da kör bu kadın
Ab           Bb        Gm        Cm
 Tek derdi adamın, biraz sarılmaktı

  Ab
Artık külü söndüremez, ah yazık
Cm
Bile bile yanma kadın
    Ab          Bb     Gm         Cm
Bir kez daha, aşkın eli havada kaldı

  Cm              Bb        Ab
Anlat biraz, yolunda mı her şey
                          Bb
Yalan ettin, gözündeki gerçek
                 Ab        Bb
Artık aşkla nefretin düeti

    Cm        Bb         Ab
Tek celsede ayrılık, zor gelse de
               Fm      Bb       Cm
Gözlerime bu hapis, kalbe kaç sene

  Cm              Bb        Ab
Anlat biraz, yolunda mı her şey
                          Bb
Yalan ettin, gözündeki gerçek
                 Ab        Bb
Artık aşkla nefretin düeti

    Cm                   Fm
Tek celsede ayrılık, zor gelse de
Bb              Ab      Cm
 Gözlerime bu hapis, kalbe kaç sene

End of song Play again?

Onur Can Özcan - Ah Adam Tabs

NotesX

Harmony analysis

Onur Can Özcan – Ah Adam: key and chord analysis

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

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it comes to rest on Cm and Cm is heard 17 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	6×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	5×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	13×
V	Bb	Dominant — strongest pull home	Bb · D · F	11×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	17×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	17×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	6×
v	Gm	Minor dominant — soft pull	G · Bb · D	5×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	13×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	11×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 52 times in total; 5 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

Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×6
Fm Cm Ebii → vi Cmiv → iminor plagal ×4
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3
Ab Cm EbIV → vi CmVI → iVI → i ×3
Fm Bb Ebii → Vii → V Cmiv → VII ×2

The move to watch is Ab → Bb, heard 6 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → 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

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

4 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Ab; the ear learns where home is within a second. The backbone is Cm, Ab, Bb, Fm — vi–IV–V–ii from the Eb side, i–VI–VII–iv from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. It closes on Cm, letting the Cm 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.