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)
Kirli - Ah Aman Aman - Chord
Key C major – A minor Chords Am, E, F, C, G, Dm, F7, E7 … Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Am C D
Am Am C Bdim
Am C E
Gönül ister her gece seni
Am C G
Hayal eder, bulamaz kimseyi
Am C E
Arar yerde gökte
Am C G F7 E7
Bulamaz inan senin gibisi nerde
F E Am
Yüreğim yanar
G F
Ah aman aman
E Dm
Seni bulamam inan
F E Am
Gözlerim kanar
G F
Ah aman aman
E Am
Seni de yoramam inan
F E Am G F E Dm
F E Am G F E Am
Am C E
Kaldı elimde boş bir şişe
Am C G
Deli ruhum serzenişte
Am C E
Düşünür dururum kendimce
Am C G F7 E7
Duymaz duyamaz beni kimse
F E Am
Yüreğim yanar
G F
Ah aman aman
E Dm
Seni bulamam inan
F E Am
Gözlerim kanar
G F
Ah aman aman
E Am
Seni de yoramam inan
End of song Play again?
Kirli - Ah Aman Aman Tabs
intro
E-----------------------------------|--------------------------|
B-----------------------------------|--------------------------|
G-----------------------------------|------------------x-4-4-4-|
D--7--2-3-2---2---------------------|--2-3-2---2-------x-x-x-x-|
A--7--------5---2-3-3-3-x-5-5-3-2-0-|--------5---2-3-3-x-2-2-2-|
E--5--------------------------------|--------------------------|
NotesX
Harmony analysis
Kirli – Ah Aman Aman: key and chord analysis
The song opens on Am 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)
- #7 = G# (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 A minor side because it both starts and finishes on Am, Am is heard 21 times against 10 for C and the major V chord points straight at Am. 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 | 10× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 3× |
| V/V | D | Secondary dominant V/V — leads to Gsecondary dominant | D · F# · A | 1× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 16× |
| V7/vi | E7 | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B · D | 2× |
| IV | F | Subdominant — moves away from home | F · A · C | 12× |
| IV7 | F7 | Chromatic colour chordoutside the key | F · A · C · Eb | 2× |
| V | G | Dominant — strongest pull home | G · B · D | 10× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 21× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 21× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | 1× |
| III | C | Relative major — the bright side | C · E · G | 10× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 3× |
| IV | D | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A | 1× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 16× |
| V7 | E7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B · D | 2× |
| VI | F | Submediant — warm colour | F · A · C | 12× |
| VI7 | F7 | Chromatic colour chordoutside the key | F · A · C · Eb | 2× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 10× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 10 different chords appear 78 times in total; 6 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E / E7 is V/vi, a secondary dominant heading for Am. D acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×13
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
The move to watch is E → Am, heard 13 times. From the Am side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V/vi → vi. 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- When E comes, swap the scale's G for G#: 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 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. Am, E, F, C carry the song: vi–V/vi–IV–I relative to C, i–V–VI–III relative to Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → Am (V/vi → vi in C, V → i in Am): harmonic-minor cadence — the major V resolves dramatically. It closes on Am, letting the Am 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.
Kirli - Ah Aman Aman 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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