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)
Fettah Can - Ara Ara - Chord
Key C major – A minor Chords Cadd9, Dm7, Fmaj7, Fm7, Em7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Fmaj7
Ara ara ara düşmedi ama
Cadd9
Ezberimde numaran
Fmaj7
Yana yana yana yakıla aradım
Cadd9
Gece vakti yok sigaram
Dm7
Bana ne Oluyor sana ne oluyor
Cadd9
Yok ki arayı bulan
Dm7
Unutuluyor acıtılıyor
Cadd9
Yok ki aşkı koruyan
Dm7 Fmaj7
Hayır hayır inanmıyorum
Bu beni son öpüşün olamaz
Cadd9
Durumu ciddiye almıyorum
Dm7 Fm7 Em7
Yüreğim bunu kaldıramaz
Dm7 Fmaj7
Hayır hayır inanmıyorum
Bu beni son öpüşün olamaz
Cadd9
Durumu ciddiye almıyorum
Dm7 Fm7 Em7
Yüreğim bunu kaldıramaz
End of song Play again?
Fettah Can - Ara Ara Tabs
NotesX
Harmony analysis
Fettah Can – Ara Ara: key and chord analysis
The song opens on Fmaj7 and ends on Em7. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C major side because C is heard 6 times while Am never appears. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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 | Cadd9 | Tonic — home | C · E · G · D | 6× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 6× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 2× |
| III | E | Chromatic colour chordoutside the key | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 4× |
| iv7 | Fm7 | Minor iv — borrowed from the parallel minorborrowed chord | F · Ab · C · Eb | 2× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | — |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | — |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | Cadd9 | Relative major — the bright side | C · E · G · D | 6× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 6× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 2× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 4× |
| vi7 | Fm7 | Chromatic colour chordoutside the key | F · Ab · C · Eb | 2× |
| 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). 5 different chords appear 20 times in total; 4 of them sit naturally inside the shared scale. Fm7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Fmaj7 Cadd9 CIVmaj7 → Iplagal cadence AmVImaj7 → III ×4
The move to watch is Fmaj7 → Cadd9, heard 4 times. From the C side it reads IVmaj7 → I (plagal cadence: the soft 'amen' ending); from the Am side it is VImaj7 → III. 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 Cadd9, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- On Fm7, follow the chord's notes (F · Ab · C · Eb) 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 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
Starting on Fmaj7, the song gives away its key from the very first bar. Cadd9, Dm7, Fmaj7, Fm7 carry the song: I–ii7–IVmaj7–iv7 relative to C, III–iv7–VImaj7–vi7 relative to Am. Fm7 briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Fmaj7 → Cadd9 (IVmaj7 → I in C, VImaj7 → III in Am): plagal cadence — the soft 'amen' ending. It closes on Em7, letting the C 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.
Fettah Can - Ara Ara 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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