Madrigal - Senden Yoksun - Chord

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

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Capo 0

G  Ab  G  Ab

G      Ab                G
Ah içimde son buldu bu telaş 
    Ab
Elinde boğuldu
G                 Ab
Ah bütün bunların hepsi beyaz bi' yalan
G          Ab
Sormadan bu gözlere 
 G        Ab               G
Ayırmasın hiç köhnelerde tuzak

G
Bugün bir sonmuş gibi benimle kal
Ab
Senden yoksunmuş gibiyim hala
G
Yarından korkmuş gibi içimde kal
Ab
Zaten yok ki derdim bir başka

G  Ab  G  Ab

Cm  Bb  Ab  G

G          Ab
Sormadan bu gözlere 
 G        Ab               G
Ayırmasın hiç köhnelerde tuzak

G
Bugün bir sonmuş gibi benimle kal
Ab
Senden yoksunmuş gibiyim hala
G
Yarından korkmuş gibi içimde kal
Ab
Zaten yok ki derdim bir başka

End of song Play again?

Madrigal - Senden Yoksun Tabs

NotesX

Harmony analysis

Madrigal – Senden Yoksun: key and chord analysis

The song opens on G and ends on Ab. 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 Ab major side because it comes to rest on Ab and Ab is heard 16 times while Fm never appears. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.

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	16×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	—
II	Bb	Chromatic colour chordoutside the key	Bb · D · F	1×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	1×
III	C	Chromatic colour chordoutside the key	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	—
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—
V/iii	G	Secondary dominant V/iii — leads to Cmsecondary dominant	G · B · D	18×

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	—
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
V/v	G	Secondary dominant V/v — leads to Cmsecondary dominant	G · B · D	18×
III	Ab	Relative major — the bright side	Ab · C · Eb	16×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	—
IV	Bb	Major IV — Dorian / melodic-minor colourmodal colour	Bb · D · F	1×
v	Cm	Minor dominant — soft pull	C · Eb · G	1×
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). 4 different chords appear 36 times in total; 2 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.

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 G, land on G, B, 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 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
2 semitones up

The song's harmonic story

The first chord is G; the ear learns where home is within a second. G, Ab, Cm, Bb carry the song: V/iii–I–iii–II relative to Ab, V/v–III–v–IV relative to Fm. G adds a moment of surprise: secondary dominant V/iii — leads to Cm. Ending on Ab, 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.