Oğuzhan Koç - Küskün - Chord

Key C major – A minor Chords Am7, F, Em7, Dm7 Easy key G (capo 5)

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Capo 0

Em7  Dm7  Am7

Am7   F             Am7
  Bitiyor bir gün daha
    F           Am7
Gidiyor ömürden ah
    F        Am7
Masada anılarım
   F         Em7
Anılarla ağlarım

Ne güzeldi o bahar
                Dm7
Gerisi ziyan, zarar

Ne kadar yaşarsam
F        Em7        Am7
 O kadar iyi hatırlarım

Am7  F            Am7
 Çıkıyor mu bir yere
     F           Am7
Bitmiyor yokuşlarım
      F         Am7
İçiyorsam her gece
    F         Em7
Çöküyor omuzlarım

Kimse sorsam hep susar
               Dm7
Kapılar yine duvar

Sen unuttukça
   F        Em7        Am7
Ben o kadar iyi hatırlarım

Am7     F     Am7        F          Em7
Çok eskilerden bir his hatırlatır seni
                                 F
O gemilerden iner mi ah bildik biri

Kalmaz mı birkaç gün
Dm7
Sormaz mı hiç halimi
Em7     Dm7    Am7
Zaten yürek küskün

End of song Play again?

Oğuzhan Koç - Küskün Tabs

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Harmony analysis

Oğuzhan Koç – Küskün: key and chord analysis

The song opens on Em7 and ends on Am7. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

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 14 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	5×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	7×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	13×
V	G	Dominant — strongest pull home	G · B · D	—
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	14×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i7	Am7	Tonic — home	A · C · E · G	14×
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	5×
v7	Em7	Minor dominant — soft pull	E · G · B · D	7×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	13×
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 39 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

F Am7 CIV → vi7 AmVI → i7VI → i ×7
Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×2
Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×2

The move to watch is F → Am7, heard 7 times. From the Am side it is VI → i7 (VI → i: falls a half step into home); from the C side it reads IV → 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 Am7, land on A, C, E — 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.
Over Em7, 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

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is Em7; the ear learns where home is within a second. The backbone is Am7, F, Em7, Dm7 — vi7–IV–iii7–ii7 from the C side, i7–VI–v7–iv7 from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Am7 (IV → vi7 in C, VI → i7 in Am): VI → i — falls a half step into home. The final chord is Am7; the ear comes to rest in Am.

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.