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)
Şəbnəm Tovuzlu - Qadasın Alaram - Chord
Key Ab major – F minor Chords C#m7, Bm7, F#m7, B#m7, E, Amaj7, D Easy key B
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Key: Ab | Fm
Capo: 0
C#m7 Kim sevər səni mənim qədər Bm7 C#m7 Ömrümü eylədin hədər Amaj7 Gəl, inan bu təmiz eşqimə Bm7 C#m7 Qıyma, öldürər məni kədər C#m7 Kaş, görəydi bu ürəyimi Bm7 C#m7 Onda anlar o, bu sevgimi Amaj7 Əl çəkən deyiləm bil bunu Bm7 C#m7 C#m7 D E Sən də məni sevənə kimi F#m7 C#m7 Eşqin yollarında qalaram B#m7 C#m7 Gözlərin qadasın alaram E Nə desən edərəm F#m7 Neyləsən dözərəm B#m7 C#m7 Sən sevən birisi olaram F#m7 C#m7 Harda olsan ora gələrəm B#m7 C#m7 Sevməsən də yenə sevərəm E Qal desən qalaram F#m7 Öl desən ölərəm B#m7 C#m7 Sən sevən birisi olaram
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Şəbnəm Tovuzlu - Qadasın Alaram Tabs
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Harmony analysis
Şəbnəm Tovuzlu – Qadasın Alaram: key and chord analysis
The song opens on C#m7 and ends on C#m7. 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)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Ab major and F minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| bIImaj7 | Amaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | A · C# · E · G# | 2× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| biii7 | Bm7 | Chromatic colour chordoutside the key | B · D · F# · A | 4× |
| iii7 | B#m7 | Mediant — a tonic-family shade | B# · D# · G · A# | 4× |
| III | C | Chromatic colour chordoutside the key | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| iv7 | C#m7 | Minor iv — borrowed from the parallel minorborrowed chord | C# · E · G# · B | 13× |
| #IV | D | Chromatic colour chordoutside the key | D · F# · A | 1× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| bVI | E | Borrowed from the parallel minorborrowed chord | E · G# · B | 3× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| bvii7 | F#m7 | Chromatic colour chordoutside the key | F# · A · C# · E | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| bii7 | F#m7 | Chromatic colour chordoutside the key | F# · A · C# · E | 4× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| #IIImaj7 | Amaj7 | Chromatic colour chordoutside the key | A · C# · E · G# | 2× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| #iv7 | Bm7 | Chromatic colour chordoutside the key | B · D · F# · A | 4× |
| v7 | B#m7 | Minor dominant — soft pull | B# · D# · G · A# | 4× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| vi7 | C#m7 | Chromatic colour chordoutside the key | C# · E · G# · B | 13× |
| #VI | D | Chromatic colour chordoutside the key | D · F# · A | 1× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
| #VII | E | Chromatic colour chordoutside the key | E · G# · B | 3× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 31 times in total; 1 of them sit naturally inside the shared scale. C#m7, E, Amaj7 are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- On C#m7, follow the chord's notes (C# · E · G# · B) 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening C#m7 lays a solid floor for everything that follows. The chords that keep coming back are C#m7, Bm7, F#m7, B#m7; read them as iv7–biii7–bvii7–iii7 in Ab or vi7–#iv7–bii7–v7 in Fm. C#m7 briefly darkens the picture: minor iv — borrowed from the parallel minor. Ending on C#m7, the song seals Ab 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 - Qadasın Alaram 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: Tural ve ToğrulMusic: Tural ve ToğrulArrangement: Fərid İman
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