Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Şəbnəm Tovuzlu - Ömrüm Günüm - Chord
Key Eb major – C minor Chords Gm, Ab, Cm, Bb, Fm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Gm Ab Cm Gm Ab
Cm Gm
Əllərimi həyatdan üzüb gedən zaman
Ab
Mənə dərman kimi gəldin ay sevgilim
Cm Gm
Bu qədər ağrılar, acılar çəkdiyimi
Ab
Söylə görüm hardan bildin ay sevgilim
Cm
Bu sitəmi, dərdi ata bilmərəmki sənsiz
Gm
Qəlbimin səsindən yata bilmərəmki sənsiz
Cm
Kor olar gözlərim sən olmasan ağlayar
Gm
Gözümün yaşını sildin ay sevgilim
Cm Ab Gm
Bunu mənə küləklər, yağışlar dedi
Cm Ab Gm
Nə etsəmdə həmişə bağışlar dedi
Bb Ab
Hər gün doğmalaşan baxışlar dedi
Fm Gm
Dediki sənsiz olmaz ay ömrüm günüm
Cm Ab Gm
Həyat səninlə şad firəvan, şahanə
Cm Ab Gm
Sənə həmişə axtaracam bəhanə
Bb Ab
Evim, eşiyim sənsiz olar viranə
Fm Gm
Yerin əsla dolmaz ay ömrüm günüm
Bb Ab
Evim, eşiyim sənsiz olar viranə
Fm Gm
Yerin əsla dolmaz ay ömrüm günüm
Cm Ab Gm Cm Ab Gm Bb Ab Fm Gm Bb Ab Fm Gm
Cm Ab Gm
Xəbər verir ruhum hər bir anından
Cm Ab Gm
Sən dəyərlisən bu şirin canımdan
Bb Ab
Nə olar məni üzmə getmə yanımdan
Fm Gm
Sevən dərdə salmaz ay ömrüm günüm
Cm Ab Gm
Mən tanrıya bağladım bu diləyi
Cm Ab Gm
Verdi ona mənim kimi mələyi
Bb Ab
Allah həmişə bir döyünən ürəyi
Fm Gm
Bir birindən almaz ay ömrüm günüm
Bb Ab
Allah həmişə bir döyünən ürəyi
Fm Gm
Bir birindən almaz ay ömrüm günüm
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Şəbnəm Tovuzlu - Ömrüm Günüm Tabs
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Harmony analysis
Şəbnəm Tovuzlu – Ömrüm Günüm: key and chord analysis
The song opens on Cm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 16 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 8× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 24× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 22× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 8× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 16× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 16× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 8× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 24× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 22× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 8× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 78 times in total; 5 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
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×11
- Ab Cm EbIV → vi CmVI → iVI → i ×4
The move to watch is Gm → Cm, heard 11 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Gm, Ab, Cm, Bb; read them as iii–IV–vi–V in Eb or v–VI–i–VII in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. Ending on Gm, the song seals Eb 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.
Şəbnəm Tovuzlu - Ömrüm Günüm 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: Şöhrət MəmmədovMusic: Şöhrət MəmmədovArrangement: Farshid Milani
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