Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Ahmed Mustafayev - Yandım Hər Gecə - Chord
Key Eb major – C minor Chords Bb, Cm, Gm, Ab, Fm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Bb Ab Bb Cm Bb Ab Bb Cm
Cm Bb Ab Bb
Uçdun getdin, könül qefesimden
Cm Bb Ab Bb
Dondu göz yaşlarım son sözünden
Cm Bb Ab Bb
Əlini çekdin yar əllərimdən
Cm Bb Ab Bb
Cıxıb getdi heç düşünmədən
Cm Gm Fm Bb
Ne olar, zaman geri donse de
Cm Gm
Seni yeniden qaytara bilsem
Fm Bb
Senle ola bilsem
Cm Gm Fm Bb
Ne olar getme, düşün meni, menim sonumu
Cm Gm Fm Bb
Hece cevirme heyat yolumu
Cm Gm
Yandım hər gecə, onun həsrətiylə mən
Fm Cm Gm
Sevdim onu necə, o bilmediiiii
Cm Gm
Yar deyə bilmedim, başqasına yar oldu
Fm Cm
Onu silə bilmedim, o bilmedi
End of song Play again?
Ahmed Mustafayev - Yandım Hər Gecə Tabs
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Harmony analysis
Ahmed Mustafayev – Yandım Hər Gecə: key and chord analysis
The song opens on Bb and ends on Cm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because it comes to rest on Cm and Cm is heard 14 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 6× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 7× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 6× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 16× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 14× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 14× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 6× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 7× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 6× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 16× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 49 times in total; 5 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
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×10
- Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×6
- Fm Bb Ebii → Vii → V Cmiv → VII ×4
- Fm Cm Ebii → vi Cmiv → iminor plagal ×2
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1
The move to watch is Bb → Cm, heard 10 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Bb, land on Bb, D, F — 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.
- Over Gm, land on G, Bb, D — 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The opening Bb lays a solid floor for everything that follows. The backbone is Bb, Cm, Gm, Ab — V–vi–iii–IV from the Eb side, VII–i–v–VI from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. The final chord is Cm; the ear comes to rest in Cm.
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.
Ahmed Mustafayev - Yandım Hər Gecə 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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