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)
Yonca Lodi - 12 Ay - Chord
Key Ab major – F minor Chords Cm, Db, Bbm, Fm, Eb Easy key C
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Key: Ab | Fm
Capo: 0
Cm Bbm Cm
Eylülün sarı saçları, ekimin inatçı hüznü
Db Cm
Kasım yağmurlarında öptüm mahzun yüzünü
Bbm Cm
Kapın hep bana aralık, her ocakta sevdan tüter
Db Cm
Şubat akşamlarında gülüşlerin bana yeter
Cm Db
Sebebi oldum ben de içimdeki sevincin
Cm Db Cm Bbm Cm
Aşk ateşten gömlekse giyerim senin için
Fm Eb
Dünya durdukça, nefes aldıkça
Db Cm
Ölüm bile seni benden almasın
Fm Eb
Ben aşkın gücüne inanıyorsam
Db Cm
Sen bu şarkının adı olmalısın
Cm Bbm Cm
Martın camları buğulu, nisanın yüzünde bahar
Db Cm
Gözlerin sanki 1 Mayıs, benim sevdam dağlar kadar
Bbm Cm
Haziranın başı döner, iki gözüm 2 Temmuz
Db Cm
Ağustosa selam çakar, beni cayır cayır yakar
Cm Db
Sebebi oldum ben de içimdeki sevincin
Cm Db Cm Bbm Cm
Aşk ateşten gömlekse giyerim senin için
Fm Eb
Dünya durdukça, nefes aldıkça
Db Cm
Ölüm bile seni benden almasın
Fm Eb
Ben aşkın gücüne inanıyorsam
Db Cm
Sen bu şarkının adı olmalısın
End of song Play again?
Yonca Lodi - 12 Ay Tabs
NotesX
Harmony analysis
Yonca Lodi – 12 Ay: key and chord analysis
The song opens on Cm and ends on Cm. 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: to us the song feels closer to the F minor side because Fm is heard 4 times while Ab never appears. 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 | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 6× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 22× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 12× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 4× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 4× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 6× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 22× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 12× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 4× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 48 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
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×4
The move to watch is Cm → Fm, heard 4 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — 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 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 Cm; the ear learns where home is within a second. The backbone is Cm, Db, Bbm, Fm — iii–IV–ii–vi from the Ab side, v–VI–iv–i from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. It closes on Cm, letting the Ab side have the last word.
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.
Yonca Lodi - 12 Ay 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: Hakkı Yalçın & Murat GüneşMusic: Hakkı Yalçın & Murat Güneş
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