Eypio - Ay Kızım (Nigar Muharrem) - Chord

Key Ab major – F minor Chords Cm, Fm Easy key F (capo 3)

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Capo 0

Cm  Cm  Fm  Fm

Cm
Baktım gözlerim ağlıyor o yok deyip
Fm
Ay benim ay benim ay kızım bir derdim var
Cm
Yıllar oldu senin ellerine de hesretim
Fm
Ay benim ay benim ay kızım bir derdim var
Cm
Ağlayım ben ağlayım boş ellerim
Fm
Ay benim ay benim ay kızım bir derdim var
Cm
Sen gideli ben de sevdim ölmeyi
Fm
Ay benim ay ay ay benim bir derdim var

Cm  Cm  Fm  Fm

Cm
Dur gitme ya da beni al yanına

Hasret kaldım ben al yanağa
    Fm
Toz kaplamış baktım sandığına

Seviyodum bakma utandığıma
Cm
Diyemedim ver ona ufaklığım

Hasretim okur dudaklarını
     Fm
Seni aradım ölümün duraklarında

Kim okudu söyle adımı kulaklarıma
    Cm
Kal yanımda sarılam ayaklarına

Dokunsam ak düşen o saçlarına
      Fm
Gelip uzansam ben de yamaçlarına

Sensiz girdim yeni yaşlarıma
Cm
Anlattım seni bütün aşklarıma

Oturdum kaldırım taşlarına
Fm
Bi de gökte uçan kuşlara bak

Beni de alırlar mı ki yanlarına

End of song Play again?

Eypio - Ay Kızım (Nigar Muharrem) Tabs

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Harmony analysis

Eypio – Ay Kızım (Nigar Muharrem): key and chord analysis

The song opens on Cm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

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)

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 it comes to rest on Fm and Fm is heard 12 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	—
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	12×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	—
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi	Fm	Relative minor — the melancholy side	F · Ab · C	12×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	12×
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	—
v	Cm	Minor dominant — soft pull	C · Eb · G	12×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	—
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). 2 different chords appear 24 times in total; 2 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 ×10

The move to watch is Cm → Fm, heard 10 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 Fm, land on F, Ab, C — 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

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The opening Cm lays a solid floor for everything that follows. The backbone is Cm, Fm — iii–vi from the Ab side, v–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. Ending on Fm, the song seals Fm 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.