Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Oğuzhan Koç - Ağla - Chord
Key E major – C# minor Chords Amaj7, F#m7, G#m7, B, C#m7, Emaj7 Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
Amaj7 G#m7 Amaj7 G#m7
Amaj7 G#m7
Cama çarptı içimde ne varsa
F#m7 Amaj7 G#m7
Yağıyor yüreğimden sanki kopan bi parça
Amaj7 C#m7
Sebebi yokken küstü, tabi maske de düştü
F#m7 B
Yazık vah ki ne vah, yaktığı da söndü
Amaj7 G#m7
Yalanınla kaldım öylece, kaçıp gidince
F#m7 G#m7 Amaj7 B
Ağla, ağla tükendim zamanla
F#m7 Amaj7 G#m7
Çözemem nasıl bir bilmece
F#m7
Uyutmuyor gece
Emaj7 F#m7
Düşüne düşüne bulamadım mana
x2
Amaj7
Sebebi yokken küstü
C#m7
Tabi maske de düştü
F#m7 B
Yazık vah ki ne vah, yaktığı da söndü
Amaj7 C#m7
Sebebi yokken küstü, tabi maske de düştü
F#m7 B
Yazık vah ki ne vah, yaktığı da söndü
Amaj7 G#m7
Yalanınla kaldım öylece, kaçıp gidince
F#m7 G#m7 Amaj7 B
Ağla, ağla tükendim zamanla
F#m7 Amaj7 G#m7
Çözemem nasıl bir bilmece
F#m7
Uyutmuyor gece
Emaj7 F#m7
Düşüne düşüne bulamadım mana
x2
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Oğuzhan Koç - Ağla Tabs
NotesX
Harmony analysis
Oğuzhan Koç – Ağla: key and chord analysis
The song opens on Amaj7 and ends on F#m7. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C# minor side because C#m is heard 3 times against 2 for E. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Emaj7 | Tonic — home | E · G# · B · D# | 2× |
| ii7 | F#m7 | Supertonic — prepares the dominant | F# · A · C# · E | 12× |
| iii7 | G#m7 | Mediant — a tonic-family shade | G# · B · D# · F# | 10× |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | — |
| IVmaj7 | Amaj7 | Subdominant — moves away from home | A · C# · E · G# | 13× |
| V | B | Dominant — strongest pull home | B · D# · F# | 5× |
| vi7 | C#m7 | Relative minor — the melancholy side | C# · E · G# · B | 3× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | C#m7 | Tonic — home | C# · E · G# · B | 3× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| IIImaj7 | Emaj7 | Relative major — the bright side | E · G# · B · D# | 2× |
| iv7 | F#m7 | Subdominant — moves away from home | F# · A · C# · E | 12× |
| v7 | G#m7 | Minor dominant — soft pull | G# · B · D# · F# | 10× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VImaj7 | Amaj7 | Submediant — warm colour | A · C# · E · G# | 13× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 5× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 45 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
- Amaj7 C#m7 EIVmaj7 → vi7 C#mVImaj7 → i7VI → i ×3
- F#m7 B Eii7 → Vii → V C#miv7 → VII ×3
- Amaj7 B EIVmaj7 → VIV → V C#mVImaj7 → VIIVI → VII ×2
The move to watch is Amaj7 → C#m7, heard 3 times. From the C#m side it is VImaj7 → i7 (VI → i: falls a half step into home); from the E side it reads IVmaj7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over G#m7, land on G#, B, D# — 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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
Starting on Amaj7, the song gives away its key from the very first bar. The chords that keep coming back are Amaj7, F#m7, G#m7, B; read them as IVmaj7–ii7–iii7–V in E or VImaj7–iv7–v7–VII in C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Amaj7 → C#m7 (IVmaj7 → vi7 in E, VImaj7 → i7 in C#m): VI → i — falls a half step into home. The final chord is F#m7; the ear comes to rest in E.
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.
Oğuzhan Koç - Ağla 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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Lyrics: İbrahim BaşaranMusic: İbrahim BaşaranArrangement: Yunus Emre Çelik
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