Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Alim Qasımov - Xatirədir - Chord
Key A major – F# minor Chords F#m, D, Dmaj7, C#7 Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
F#m
Yenə yanır bu ocaq
Yanıb, külü qalacaq
D
Bilmirəm nə olacaq
F#m
Olanı xatirədir
F#m
Niyə çıxdıq yola biz
Dmaj7
Coşub-daşır bu dəniz
C#7
Bir adadır sevgimiz
F#m
Hər yanı xatirədir
F#m
Qar yağır narın-narın
Üzü gülür dağların
D
Bu yaşıl yarpaqların
F#m
Solanı xatirədir
F#m
Niyə çıxdıq yola biz
Dmaj7
Coşub-daşır bu dəniz
C#7
Bir adadır sevgimiz
F#m
Hər yanı xatirədir
Ay çəmənin çiçəyi
Niyə soldu ləçəyin
Bu dünyanın gerçəyi
Yalanı xatirədir
Xəyaldı, yoxsa yalan
Gəlib keçdi nə zaman
Sevginin ömrü bir an
Qalanı xatirədir
End of song Play again?
Alim Qasımov - Xatirədir Tabs
NotesX
Harmony analysis
Alim Qasımov – Xatirədir: key and chord analysis
The song opens on F#m and ends on F#m. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
- #7 = E# (harmonic-minor leading tone from the V chord)
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 F#m, F#m is heard 8 times while A never appears and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V7/vi | C#7 | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# · B | 2× |
| IV | D | Subdominant — moves away from home | D · F# · A | 2× |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 2× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 8× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 8× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V7 | C#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# · B | 2× |
| VI | D | Submediant — warm colour | D · F# · A | 2× |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 2× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 14 times in total; 3 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C#7 is V7/vi, a secondary dominant heading for F#m.
Chord movement
- C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×2
- D F#m AIV → vi F#mVI → iVI → i ×2
The move to watch is C#7 → F#m, heard 2 times. From the F#m side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the A side it reads V7/vi → vi (secondary resolution: C#7 resolves a fourth up to F#m). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When C#7 comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening F#m lays a solid floor for everything that follows. The chords that keep coming back are F#m, D, Dmaj7, C#7; read them as vi–IV–IVmaj7–V7/vi in A or i–VI–VImaj7–V7 in F#m. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C#7 → F#m (V7/vi → vi in A, V7 → i in F#m): harmonic-minor cadence — the major V resolves dramatically. Ending on F#m, the song seals F#m 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.
Alim Qasımov - Xatirədir 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: Baba VəzitoğluMusic: Kamal
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