Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Şəbnəm Tovuzlu - Yar Ağladı - Chord
Key Bb major – G minor Chords Dm, Eb, Gm, F, Cm, Bb Easy key C
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Key: Bb | Gm
Capo: 0
Gm Dm F F Eb Eb Dm
Gm Gm F F Eb Eb Dm
Dm
Yarın boyun qucağladım
Gm
Yar ağladı mən ağladım
F
Yığışdı qonşular bütün
Eb Cm Dm
Car ağladı mən ağladım
Dm
Eləki əsdi bir xəzan
Gm
Talandı güllərim mənim
F
Xəbər çatınca bülbülə
Eb Cm Dm
Xar ağladı mən ağladım
Dm Eb
Ürəy sözün dedim tara
Dm Dm
Simlər oldu para para
Eb
Yavaş yavaş sızıldadı
Gm Dm
Tar ağladı mən ağladım
Gm Dm F F Eb Eb Dm
Dm Eb
Başında qar qalanda
Dm
Danışdım ayrılığ sözün
Eb
Bir ah çəkib başımda ki
Gm Dm
Qar ağladı mən ağladım
Dm Gm
Dedim ki hə mənimkidi
Dm
Başımı çəkdilər dara
F Eb
Tərəb kəsəndə boynumu
Bb Cm Dm
Dar ağladı mən ağladım
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Şəbnəm Tovuzlu - Yar Ağladı Tabs
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Harmony analysis
Şəbnəm Tovuzlu – Yar Ağladı: key and chord analysis
The song opens on Gm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 9 times against 1 for Bb. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 1× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 3× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 19× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 13× |
| V | F | Dominant — strongest pull home | F · A · C | 9× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 9× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 9× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 1× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 3× |
| v | Dm | Minor dominant — soft pull | D · F · A | 19× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 13× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 9× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 54 times in total; 6 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 Gm Bbiii → vi Gmv → inatural-minor cadence ×5
- Eb Gm BbIV → vi GmVI → iVI → i ×2
- Eb Bb BbIV → Iplagal cadence GmVI → III ×1
The move to watch is Dm → Gm, heard 5 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. The backbone is Dm, Eb, Gm, F — iii–IV–vi–V from the Bb side, v–VI–i–VII from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Dm; the ear comes to rest in Bb.
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.
Şəbnəm Tovuzlu - Yar Ağladı 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: Əli PormenMusic: Əli Pormen
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