Tuğkan - Aşkın Kanunu - Chord

Key C major – A minor Chords Em, Am, F, Dm, G Difficulty already in its easiest key

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Capo 0

Am  Em  F  Em

Am                         Dm
Hata mıydın sevap mıydın bilemem
       Am                           Dm
Tek bildiğim senden kalan yarım bir ben
Em             F                 Am
Yıllar götürmüş senden benden bizden

Em                  F
Usulca ele geçirmiş aklımı
Em                  Dm
Harcamış bütün hakkını
Em             F
Döndürmüş beni deliye
Em             Dm
Bırakmamış yarını

Am        Em         F          Em
Aşkın kanunu yok ama cezası ağırdır
Am             Em           F           Em
Bağır çağır söylersin derdi duymaz sağırdır
Dm          Em
Duymaz sağırdır
Am             Em   F            Em
Yeter dedim sevdaya artık çok geçti
        Dm         G
Bu yolu kendisi seçti
F          Em
Kendisi seçti

Am
Yalan mıydın, kalır mıydın
Dm
Sarılır mıydık, ağlar mıydın
Am
Sevmiş miydin, seviştiğimiz zaman
Em
Duyar mıydın beni

Am        Em         F          Em
Aşkın kanunu yok ama cezası ağırdır
Am             Em           F           Em
Bağır çağır söylersin derdi duymaz sağırdır
Dm          Em
Duymaz sağırdır
Am             Em   F            Em
Yeter dedim sevdaya artık çok geçti
        Dm         G
Bu yolu kendisi seçti
F          Em
Kendisi seçti

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Tuğkan - Aşkın Kanunu Tabs

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Harmony analysis

Tuğkan – Aşkın Kanunu: key and chord analysis

The song opens on Am and ends on Em. 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 opens on Am and Am is heard 12 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	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	9×
iii	Em	Mediant — a tonic-family shade	E · G · B	24×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	12×
V	G	Dominant — strongest pull home	G · B · D	2×
vi	Am	Relative minor — the melancholy side	A · C · E	12×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	12×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	9×
v	Em	Minor dominant — soft pull	E · G · B	24×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	12×
VII	G	Subtonic — steps back to the tonic	G · B · D	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 59 times in total; 5 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

Em Am Ciii → vi Amv → inatural-minor cadence ×7
Dm Am Cii → vi Amiv → iminor plagal ×3
Dm G Cii → Vii → V Amiv → VII ×2
F Am CIV → vi AmVI → iVI → i ×1

The move to watch is Em → Am, heard 7 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → vi. 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Am, 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.

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

The opening Am lays a solid floor for everything that follows. The backbone is Em, Am, F, Dm — iii–vi–IV–ii from the C side, v–i–VI–iv from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. It closes on Em, 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.