KÖFN - Al Aramızdan - Chord

Key A major – F# minor Chords C#m, E, D, Bm, F#m, A Easy key C

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Capo 0

A
Sevişse ellerimiz kurtarır bizi anlamsız o korkulardan
C#m 
Geçiyor zaman inan durmuyor arzular dayanıyor o zaman

D     F#m           E      C#m           Bm
Sende kendi yağında kavrul kendi yolunda kaybol
               E                 D
Benim alınacak intikamım inan ki yok
              E                    Bm
Kendi yağında kavrul kendi yolunda kaybol
               C#m
Benim alınacak intikamım inan ki yok

F#m               Bm
Al aramızdan bu dağları çıkamaz yorgun dizlerim
E                D                 C#m
Tükendim tükendim hem ilacım hem zehirimsin

F#m  Bm  E  D  C#m

End of song Play again?

KÖFN - Al Aramızdan Tabs

NotesX

Harmony analysis

KÖFN – Al Aramızdan: key and chord analysis

The song opens on A and ends on C#m. 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: we can't honestly pick a side here — the song moves freely between A major and F# minor because it opens on A and F#m is heard 3 times against 1 for A. Try reading the chords both ways and see which feels more like home to you.

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	1×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	4×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	5×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	4×
V	E	Dominant — strongest pull home	E · G# · B	5×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	3×
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#	3×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	1×
iv	Bm	Subdominant — moves away from home	B · D · F#	4×
v	C#m	Minor dominant — soft pull	C# · E · G#	5×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	4×
VII	E	Subtonic — steps back to the tonic	E · G# · B	5×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 22 times in total; 6 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

Bm E Aii → Vii → V F#miv → VII ×3
C#m F#m Aiii → vi F#mv → inatural-minor cadence ×2
D F#m AIV → vi F#mVI → iVI → i ×1
D E AIV → VIV → V F#mVI → VIIVI → VII ×1

The move to watch is Bm → E, heard 3 times. From the A side it reads ii → V (ii → V: the classic preparation of the dominant); from the F#m side it is iv → VII. 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 C#m, land on C#, E, G# — 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 D, land on D, F#, A — 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 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

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening A lays a solid floor for everything that follows. C#m, E, D, Bm carry the song: iii–V–IV–ii relative to A, v–VII–VI–iv relative to F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → E (ii → V in A, iv → VII in F#m): ii → V — the classic preparation of the dominant. Ending on C#m, the song seals A as home.

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.