Yıldız Tilbe - Sana Değer - Chord

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

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Capo 0

C                             Bbm               Db      C    
Akarım sonsuza deli sel gibi, tut çevrele tut gölün olayım
C                                Bbm             Db         C
Çarparım ne varsa deli yel gibi, tut kollarımdan tut ki durayım

x2
Fm             Bbm         Eb   Ab              Db
Tüm yaşananlar bir bir günaha, dönüşüyor ah zamanla uğraşma
Db       Bbm   Db            C    Bbm         Db      C
Sen öyle bela deli sev ki beni, bütün yasakları yasakla

C                           Bbm            Db        C
Her soluğunda baştan ayağa, çek beni içine orda kalayım-


C  Db  Eb  Fm      Eb    Db         Fm   Eb    Db
Zaten aşklar hep yalan dolan, sonu hep sızı hüsran
    Eb       Cm        Bbm            Db         C
Geriye kalan ardından, yalnızlık olsa da sana değer

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Yıldız Tilbe - Sana Değer Tabs

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Harmony analysis

Yıldız Tilbe – Sana Değer: key and chord analysis

The song opens on C and ends on C. 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 Fm is heard 3 times against 1 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	1×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	7×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	1×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	10×
IV	Db	Subdominant — moves away from home	Db · F · Ab	11×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	5×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	3×
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	3×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	1×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	7×
v	Cm	Minor dominant — soft pull	C · Eb · G	1×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	10×
VI	Db	Submediant — warm colour	Db · F · Ab	11×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	5×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 38 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

Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×1
Eb Ab AbV → Iauthentic cadence FmVII → III ×1
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×1
Bbm Eb Abii → Vii → V Fmiv → VII ×1
Db Fm AbIV → vi FmVI → iVI → i ×1

The move to watch is Db → Eb, heard 2 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IV → V (IV → V: the lift that builds tension before home). 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — 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.
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

The first chord is C; the ear learns where home is within a second. The chords that keep coming back are Db, C, Bbm, Eb; read them as IV–V/vi–ii–V in Ab or VI–V–iv–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 Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. The final chord is C; the ear comes to rest in Ab.

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.

Yıldız Tilbe - Sana Değer 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: Yıldız Tilbe

Music: Bülent Özdemir

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