Madrigal - Kelebekler - Chord

Key Ab major – F minor Chords Cm, Fm, Bbm, F# Easy key C

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Capo 0

Fm  Cm  Bbm  Cm 

       Fm
Tek kurtuluş yolu gün batımına doğru
        Cm
Yok elinden tutan, yardımına koşan
                               Bbm
Kendinden başka kimseyi düşünmeyen insanlardan
                           Cm
Kurtulsak yeter, nere ne fark eder
                        Fm
Ömrü kısa renkli kelebekler gibi, ateşe uçarız belki
   Cm
Yoksun bir umut, bizim olacak
          Bbm
Eğer bir gün geri dönmek istersen
                           Cm
Çok uzaklara gidememişsen olur
           Fm
Ama ben aniden

Fm
Kaybolurum, kendimi unuturum
    Cm
Ama alışırım, yine de karışırım
       Bbm
Yokluğuna, boşluğuna
        Cm         Fm
Umutsuz bir melodrama

Fm
Gökyüzü nasıl güzel
        Cm
Uçarken görecekler bizi
     Bbm                      F#
Bizi sarıp sarıp sarıp, sarıp sarıp
            Cm
Rüzgara verecekler ikimizi

Fm
Bu sabahların ardından
          Cm
Eşsiz bir düşüş, bize kalan
        Bbm
Eğer o gün beni istememişsen
                              Cm
Bunu çok sonra görebilmişsen olur
           Fm
Ama ben aniden

Fm
Kaybolurum, kendimi unuturum
    Cm
Ama alışırım, yine de karışırım
       Bbm
Yokluğuna, boşluğuna
        Cm         Fm
Umutsuz bir melodrama

End of song Play again?

Madrigal - Kelebekler Tabs

NotesX

Harmony analysis

Madrigal – Kelebekler: key and chord analysis

The song opens on Fm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

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)

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 both starts and finishes on Fm and Fm is heard 11 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	7×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	14×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	—
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi	Fm	Relative minor — the melancholy side	F · Ab · C	11×
bVII	F#	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F# · A# · C#	1×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	11×
bII	F#	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F# · A# · C#	1×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	7×
v	Cm	Minor dominant — soft pull	C · Eb · G	14×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	—
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	—

Analysis

The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 33 times in total; 3 of them sit naturally inside the shared scale. F# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Cm Fm Abiii → vi Fmv → inatural-minor cadence ×7

The move to watch is Cm → Fm, heard 7 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
On F#, follow the chord's notes (F# · A# · C#) 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 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

The first chord is Fm; the ear learns where home is within a second. Cm, Fm, Bbm, F# carry the song: iii–vi–ii–bVII relative to Ab, v–i–iv–bII relative to Fm. F# briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. Ending on Fm, the song seals Fm as home.

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.