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)
Ahmet Aslan - Dermanın Olayım - Chord
Key C major – A minor Chords Am, Dm, G, Em, C Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Dm Yarım derdini ver bana Am Dermanın olayım senin Dm Am Bülbül gibi cemaline G Em Am Aşığın olayım senin G Dm Yakma beni yandırma beni Am C Aşk elinden kandır beni Dm Yakma beni yandırma beni Am C Aşk elinden kandır beni Dm Am Sarhoşum ayıktır beni G Em Am Mestanın olayım senin Dm Can kuşunu sana uçur Am Aşk elinden bade içir Dm Am Hırka ile şaldan geçir G Em Am Üryanın olayım senin G Dm Seyfullah der benim hoca Am C Kendinden ayırmam nice Dm Seyfullah der benim hoca Am C Kendinden ayırmam nice Dm Am Gahi gündüz gahi gece G Em Am Mihmanın olayım senin
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Ahmet Aslan - Dermanın Olayım Tabs
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Harmony analysis
Ahmet Aslan – Dermanın Olayım: key and chord analysis
The song opens on Dm and ends on Am. 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 A minor side because it comes to rest on Am and Am is heard 14 times against 4 for C. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 4× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 10× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 4× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | 6× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 14× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 14× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 4× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 10× |
| v | Em | Minor dominant — soft pull | E · G · B | 4× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 6× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 38 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
- Dm Am Cii → vi Amiv → iminor plagal ×10
- Em Am Ciii → vi Amv → inatural-minor cadence ×4
The move to watch is Dm → Am, heard 10 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over G, 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 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 Dm lays a solid floor for everything that follows. Am, Dm, G, Em carry the song: vi–ii–V–iii relative to C, i–iv–VII–v relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. It closes on Am, letting the Am 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.
Ahmet Aslan - Dermanın Olayım 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: Seyyid Nizamoğlu (Seyfullah)Music: Seyyid Nizamoğlu (Seyfullah)
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