Sertab Erener - Yanarım - Chord

Key Ab major – F minor Chords Fm, Db, Cm, Eb, Bbm, Ab, C Easy key C

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Capo 0

Fm         Bbm    Eb               Fm
Ne olur aç kapıyı yine tat yüreğim acıyı
Db              Cm     Fm
Yenildik mi biz maziye aç kapıyı
            Bbm    Eb            Fm
Darıldık kendimize ucu yanmış resmimize
Db       Cm        Fm
Kaybolan ümidimize gençliğimize

    Fm      Eb  Db            Cm
Yanarım yanarım gün geçer yanarım
Bbm          Cm       Db          Fm
Ah gecelerin hesabını kimlere sorarım

    Fm      Eb  Db            Cm
Yanarım yanarım ne yapsam yanarım
Bbm          Cm       Db          Fm
Ah gecelerin hesabını kimlere sorarım
   
Fm   Eb  Db  Cm
Aaaaaaaaaaaaaaaa
Fm  Eb  Db  Cm   Db   Eb  Fm
Aaaaaaaaaaaaaaaaaaaaaaaaaaaa

Fm         Bbm    Eb                  Fm
Ne olur aç kapıyı yine tat yüreğim acıyı
Db              Cm            Fm
Yenildik mi biz maziye aç kapıyı

Fm 
Gecelere sor beni
Ab          Eb              Db  C
Gün dediğin nerden bilir ki halimi
Fm    
Yalnızlığa sor beni
Ab           Eb           Db  C
Yalan aşklar anlatamaz ki halimi

    Fm      Eb  Db            Cm
Yanarım yanarım gün geçer yanarım
Bbm          Cm       Db          Fm
Ah gecelerin hesabını kimlere sorarım

    Fm      Eb  Db            Cm
Yanarım yanarım ne yapsam yanarım
Bbm          Cm       Db          Fm
Ah gecelerin hesabını kimlere sorarım

End of song Play again?

Sertab Erener - Yanarım Tabs

NotesX

Harmony analysis

Sertab Erener – Yanarım: key and chord analysis

The song opens on Fm 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)
#7 = E (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F minor side because it both starts and finishes on Fm, Fm is heard 21 times against 2 for Ab and the major V chord points straight at Fm. 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	2×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	7×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	13×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	2×
IV	Db	Subdominant — moves away from home	Db · F · Ab	16×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	12×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	21×
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	21×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	2×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	7×
v	Cm	Minor dominant — soft pull	C · Eb · G	13×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	2×
VI	Db	Submediant — warm colour	Db · F · Ab	16×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	12×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 73 times in total; 6 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C is V/vi, a secondary dominant heading for Fm.

Chord movement

Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×4
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×4
Db Fm AbIV → vi FmVI → iVI → i ×4
Bbm Eb Abii → Vii → V Fmiv → VII ×3
C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×2
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×1

The move to watch is Eb → Fm, heard 4 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 Fm, land on F, Ab, C — 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
When C comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.

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 Fm, the song gives away its key from the very first bar. The chords that keep coming back are Fm, Db, Cm, Eb; read them as vi–IV–iii–V in Ab or i–VI–v–VII in Fm. C is the interesting twist: in Ab it is a chromatic chord (V/vi), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. It closes on Fm, letting the Fm 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.