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)
Nahide Babaşlı - Yorgun Biri - Chord
Key Ab major – F minor Chords Fm, Bbm7, Cm7, Dmaj7, Eb Easy key C
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Key: Ab | Fm
Capo: 0
Fm Dmaj7
Yanmam daha bu cehenneme
Cm7 Bbm7 Fm
Zor geliyor canım eriyor
Dmaj7
Yas'ı matemi tükenmeyen
Cm7 Bbm7 Fm
Şu gönlüme her acı bin zarar ediyor
Fm Bbm7
Gel bir gör de kalbim anlatsın sana
Cm7 Bbm7 Fm
Kararıp bir çare nasıl ortada kaldığını
Dmaj7 Bbm7
Sen de ben gibi vazgeçmesin asla
Cm7 Fm
Görsen de cayır cayır yandığımı
Fm
Yorgun biri var
Dmaj7
Tabii bize haliyle zarar
Bbm7
Yanıyor içim yenilmedi
Eb
Ama zor bir karar
Cm7 Dmaj7
Senle olmuyor sensiz de yaşanmıyor
Cm7 Bbm7 Fm
Beni bile dinlemez bu deli yangınlar
End of song Play again?
Nahide Babaşlı - Yorgun Biri Tabs
NotesX
Harmony analysis
Nahide Babaşlı – Yorgun Biri: 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.
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 8 times while Ab never appears. 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 | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 7× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 6× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| #IVmaj7 | Dmaj7 | Chromatic colour chordoutside the key | D · F# · A · C# | 5× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 1× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 8× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 8× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 7× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 6× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| #VImaj7 | Dmaj7 | Chromatic colour chordoutside the key | D · F# · A · C# | 5× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 1× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 27 times in total; 4 of them sit naturally inside the shared scale. Dmaj7 step outside the scale as colour chords.
Chord movement
- Bbm7 Fm Abii7 → vi Fmiv7 → iminor plagal ×4
- Cm7 Fm Abiii7 → vi Fmv7 → inatural-minor cadence ×1
- Bbm7 Eb Abii7 → Vii → V Fmiv7 → VII ×1
The move to watch is Bbm7 → Fm, heard 4 times. From the Fm side it is iv7 → i (minor plagal: deep and melancholic); from the Ab side it reads ii7 → 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Cm7, 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
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. Fm, Bbm7, Cm7, Dmaj7 carry the song: vi–ii7–iii7–#IVmaj7 relative to Ab, i–iv7–v7–#VImaj7 relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Fm (ii7 → vi in Ab, iv7 → i in Fm): minor plagal — deep and melancholic. 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.
Nahide Babaşlı - Yorgun Biri 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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Lyrics: Yiğit MahzuniMusic: Esad Fidan & Yiğit MahzuniArrangement: Salih Sakarya
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