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)
Xece Herdem - Tu li ku yî - Chord
Key Ab major – F minor Chords Cm, Bb, Fm, Eb, Bbm, Ab Easy key C
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Key: Ab | Fm
Capo: 0
Cm Fm Bb Eb Cm Bb Ab Bb Cm Cm Heta doh tu ba min bu Fm Ber çavê min bu Bb Eb Ew destê te ser sînga min ser dile min bu Cm Bb Niha tu li ku ez li kume çima ûlo bu Ab Bb Cm Dikim nakim çare nabe dil perîşan bu Fm Cm Her dem bîra min xeyala min da Eb Bbm Cm Çiqa dûrî tebim nav dile min da Fm Cm Gelo tu nikarî were nişkê da Eb Bbm Cm Niha tu li kûye ey yarê ez li kûderême Cm Fm Ew çavê te li bîramin li benda te ma Bb Eb Lê mixabin hevî nema çav li malê yar Cm Bb Niha dilêm pir westiya tenê maye can Ab Bb Cm Ez çi bêjim çi nebêjim dil bûye wêran Fm Cm Her dem bîra min xeyala min da Eb Bbm Cm Çiqa dûrî tebim nav dile min da Fm Cm Gelo tu nikarî were nişkê da Eb Bbm Cm Niha tu li kûye ey yarê ez li kûderême
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Xece Herdem - Tu li ku yî Tabs
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Harmony analysis
Xece Herdem – Tu li ku yî : 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 7 times against 3 for Ab. 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 | 3× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 4× |
| V/V | Bb | Secondary dominant V/V — leads to Ebsecondary dominant | Bb · D · F | 9× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 17× |
| 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 | 7× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 7× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 7× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 3× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 4× |
| IV | Bb | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F | 9× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 17× |
| 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 | 7× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 47 times in total; 5 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×7
The move to watch is Cm → Fm, heard 7 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 Bb, land on Bb, D, F — 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
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Cm, the song gives away its key from the very first bar. Cm, Bb, Fm, Eb carry the song: iii–V/V–vi–V relative to Ab, v–IV–i–VII relative to Fm. Bb adds a moment of surprise: secondary dominant V/V — leads to Eb. 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.
Xece Herdem - Tu li ku yî 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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