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)
Nahide Babaşlı - Senden Sonra - Chord
Key Ab major – F minor Chords Cm7, Dbmaj7, Bbm7, Fm7, C7sus4, C7 Easy key C
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Key: Ab | Fm
Capo: 0
Cm7 Dbmaj7 Bbm7
Ne kadar oldu gideli bilmiyorum geçen zamanı
Cm7 Dbmaj7 Bbm7
Zamandan saymadım zaten sensiz geçen her anımı
Fm7
Hevesim kırık yüreğim buruk
Cm7
Ne olacaktık bak ne olduk
Dbmaj7 Bbm7 Dbmaj7
Canım istemiyor zoruma gidiyor
Bbm7 Cm7
Böyle yaşamak bana ağır geliyor
Cm7 Dbmaj7 Cm7
Senden sonra arasamda öncesini
Bbm7 C7sus4 C7
Alıştım acı çekerek almaya nefesimi
Fm7
Yaram ne kanar ne kabuk bağlar
Cm7
Giden unutur kalan hep yanar
Dbmaj7 Bbm7 Dbmaj7
Kaçsam kaçamam her yerde kokun var
Cm7
Sensiz uyandığım kaçıncı günüm
Dbmaj7
Aynada gördüğüm yorgun yüzüm
Bbm7 Dbmaj7 Cm7
Bana hiç tanıdık gelmiyor inan
Fm7 Cm7 Dbmaj7 Bbm7 Cm7 Dbmaj7 Bbm7 Cm7
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Nahide Babaşlı - Senden Sonra Tabs
NotesX
Harmony analysis
Nahide Babaşlı – Senden Sonra: key and chord analysis
The song opens on Cm7 and ends on Cm7. 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)
- #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 Fm is heard 3 times while Ab never appears and the major V chord points straight at Fm. 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 | 9× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 12× |
| V7/vi | C7sus4 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · F · G · Bb | 1× |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 1× |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 11× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 3× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 3× |
| 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 | 9× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 12× |
| V7sus4 | C7sus4 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · F · G · Bb | 1× |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 1× |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 11× |
| 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). 6 different chords appear 37 times in total; 4 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C7sus4 / C7 is V7/vi, a secondary dominant heading for Fm.
Chord movement
- C7 Fm7 AbV7/vi → vi7secondary resolution FmV7 → i7harmonic-minor cadence ×1
- Bbm7 Fm7 Abii7 → vi7 Fmiv7 → i7minor plagal ×1
- Bbm7 C7sus4 Abii7 → V7/vi Fmiv7 → V7sus4iv → V ×1
- Cm7 Fm7 Abiii7 → vi7 Fmv7 → i7natural-minor cadence ×1
The move to watch is C7 → Fm7, heard once. From the Fm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the Ab side it reads V7/vi → vi7 (secondary resolution: C7 resolves a fourth up to Fm7). 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 Dbmaj7, land on Db, F, Ab — 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.
- When C7sus4 comes, swap the scale's Eb 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 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 Cm7; the ear learns where home is within a second. The chords that keep coming back are Cm7, Dbmaj7, Bbm7, Fm7; read them as iii7–IVmaj7–ii7–vi7 in Ab or v7–VImaj7–iv7–i7 in Fm. C7sus4 is the interesting twist: in Ab it is a chromatic chord (V7/vi), while in Fm it becomes the dominant (V7sus4) that makes the minor side sound so determined. Keep an ear on C7 → Fm7 (V7/vi → vi7 in Ab, V7 → i7 in Fm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Cm7; the ear comes to rest in Ab.
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.
Nahide Babaşlı - Senden Sonra 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: Soner GerçeklerMusic: Soner GerçeklerArrangement: Esad Fidan
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