Yaşar - Ahududu Şekerim - Chord

Key A major – F# minor Chords Dm, A, Gm, C Easy key E (capo 5)

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Capo 0

Gm  Dm  A  Dm  Gm  Dm  A  Dm
Gm  Dm  A  Dm  Gm  A   A  Dm

Dm
Ahududu ahududu

Ahududu şekerim
C
Ben senin hatanı
A
Günahını çekerim

Gm   A             Dm
El verir salimen sabah
Gm  A             Dm
Olmaya halim en harap

Dm      A               Dm
Gün dediğin gün dediğin nedir ki
Gm          A                       Dm
Ah şu mevsimlerden aman/inan vazgeçerim

Dm
En büyük eğlencem

Dizlerinde geçen
                 Gm
Hani uyur uyanık haller

Gm   A             Dm
El verir salimen sabah
Gm  A             Dm
Olmaya halim en harap

Gm      A               Dm
Gülüm sensin dikenlerde benimsin
Gm      A                         Dm
Dokunmayınca ben sana sen kalır mısın

Dm
Ahududu ahududu

Ahududu şekerim
C
Ben senin hatanı
A
Günahını çekerim

Gm        A                         Dm
Bak mevsimlerde ne var sır saklar mısın

End of song Play again?

Yaşar - Ahududu Şekerim Tabs

NotesX

Harmony analysis

Yaşar – Ahududu Şekerim: key and chord analysis

The song opens on Gm and ends on Dm. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A major side because A is heard 16 times while F#m never appears. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	16×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
bIII	C	Borrowed from the parallel minorborrowed chord	C · E · G	2×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
III	C#	Chromatic colour chordoutside the key	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
iv	Dm	Minor iv — borrowed from the parallel minorborrowed chord	D · F · A	20×
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	—
bvii	Gm	Chromatic colour chordoutside the key	G · Bb · D	13×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	—
bii	Gm	Chromatic colour chordoutside the key	G · Bb · D	13×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	16×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
#IV	C	Chromatic colour chordoutside the key	C · E · G	2×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	—
vi	Dm	Chromatic colour chordoutside the key	D · F · A	20×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 51 times in total; 1 of them sit naturally inside the shared scale. Dm, C are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Dm A Aiv → Iminor plagal F#mvi → III ×4

The move to watch is Dm → A, heard 4 times. From the A side it reads iv → I (minor plagal: a bittersweet arrival with a borrowed iv); from the F#m side it is vi → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
On Dm, follow the chord's notes (D · F · A) rather than the key's scale — it's a borrowed colour.

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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. Dm, A, Gm, C carry the song: iv–I–bvii–bIII relative to A, vi–III–bii–#IV relative to F#m. Dm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Dm → A (iv → I in A, vi → III in F#m): minor plagal — a bittersweet arrival with a borrowed iv. The final chord is Dm; the ear comes to rest in A.

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.