Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Aynur Aydın - Yağdır (Damla Yıldız) - Chord
Key Ab major – F minor Chords Cm7, Fm7, Bbm7, Db, Bbm, Eb, Fm Easy key C
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Key: Ab | Fm
Capo: 0
Cm7 Bbm7
Cm7
İçimde biriktirdiklerimi
Bbm7
Yazmaya kalksam kaç roman yapar
Cm7
Sen diye yanılıp sevdiklerimi
Bbm7
Bir bir anlatsam şarkılar yanar
Fm7
Belki çok üzmedin beni
Ama sevindirmedinde
Bbm Eb Cm7
Bulutlara çıkarmadın indirmedinde
Belki çok üzmedin beni
Fm7
Belki çok üzmedin beni
Ama sevindirmedinde
Bbm
Hem herşeyi yaşattın
Eb Cm7
Hem öldürmedinde
Fm7 Db
Yağdır gökten acılarını
Fm7 Db
Toplar giderim anılarımı
Fm Db
İstemem artık, iyiliğini bile
Bbm7 Fm7
Kendim sararım yaralarımı
End of song Play again?
Aynur Aydın - Yağdır (Damla Yıldız) Tabs
NotesX
Harmony analysis
Aynur Aydın – Yağdır (Damla Yıldız): key and chord analysis
The song opens on Cm7 and ends on Fm7. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it comes to rest on Fm and Fm is heard 6 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 4× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 2× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 5× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 3× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 2× |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 5× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 1× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 5× |
| i | Fm | Tonic — home | F · Ab · C | 1× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 4× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 2× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 5× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 3× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 2× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 22 times in total; 7 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
- Bbm7 Fm7 Abii7 → vi7 Fmiv7 → i7minor plagal ×2
- Bbm Eb Abii → Vii → V Fmiv → VII ×2
- Cm7 Fm7 Abiii7 → vi7 Fmv7 → i7natural-minor cadence ×2
- Db Fm7 AbIV → vi7 FmVI → i7VI → i ×1
- Db Fm AbIV → vi FmVI → iVI → i ×1
The move to watch is Bbm7 → Fm7, heard 2 times. From the Fm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Ab side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Bbm7, land on Bb, Db, F — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Cm7, the song gives away its key from the very first bar. The backbone is Cm7, Fm7, Bbm7, Db — iii7–vi7–ii7–IV from the Ab side, v7–i7–iv7–VI from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Fm7 (ii7 → vi7 in Ab, iv7 → i7 in Fm): minor plagal — deep and melancholic. It closes on Fm7, letting the Fm 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.
Aynur Aydın - Yağdır (Damla Yıldız) 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: Murat GüneşMusic: Murat GüneşArrangement: Ozan Bayraşa
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