Yaşar - Seni Severdim(Yıldız Usmonova) - Chord

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

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Capo 0

Fm                   Cm
Yazık ne mazi yazık anlatmaya yoruldum
Ab                    Eb
Sen benden vazgeçince ben o günde vuruldum
Bbm
Yazık günah ben oysa
Fm    Eb  Db   Bbm       Cm       Fm
Kardelen gibi, acıyla boy veren gibi

          Fm             Cm
Seni severdim hüznün koynumda
           Eb            Bbm     Cm
Seni severdim hem uyanık hem uykumda
          Fm             Cm
Seni severdim ve sana rağmen
         Eb             Bbm    Cm
Yine severdim dar ağacı ip boynumda

Fm                        Cm
Sen aşkı anlamaz bilmez, gül yansa ağlamaz sakin
Bbm                        Cm
Ben akmayan gözyaşımdan seni severdim
Fm                         Cm
Sen hisli korkak savaşçı, aşkı kime satmış hain
Bbm                         Cm
Ben her savaş meydanında seni severdim

Fm                   Cm
Yazık ah mazi yazık bir yalnızlık, bir vurgun
Ab                      Eb
Sen benden vazgeçince, ben o günde vuruldum
Bbm
Yazık günah ben oysa
Fm   Eb   Db   Bbm      Cm      Fm
Pervane gibi ateşle can veren gibi

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Yaşar - Seni Severdim(Yıldız Usmonova) Tabs

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Harmony analysis

Yaşar – Seni Severdim(Yıldız Usmonova): 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)

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 and Fm is heard 10 times against 2 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.

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	8×
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	2×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	6×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	10×
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	10×
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	8×
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	2×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	6×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 40 times in total; 6 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 ×6
Bbm Fm Abii → vi Fmiv → iminor plagal ×2

The move to watch is Cm → Fm, heard 6 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.
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 opening Fm lays a solid floor for everything that follows. The chords that keep coming back are Cm, Fm, Bbm, Eb; read them as iii–vi–ii–V in Ab or v–i–iv–VII in Fm. 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 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.