Nigar Muharrem - Senden Sonrasi - Chord

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

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Capo 0

Cm
Sil aklımdakileri gel
Db                     Bbm
Ben savaşamıyorum onlarla
Fm         Bbm   Cm
Saldın benim başıma

Cm                      Db
Sil aklımdaki seni, gel
                         Eb  Fm     Bbm   Ab  Cm
Ben üzerini karalayamıyorum  tertemiz orada 

Fm
Bugün dünden daha iyi değilim
Eb
Yarın ne olur, kalırım mı bilmem
Db                               Bbm
Kendimden kaçıyorum senden hemen sonrası
Fm                            Cm                      Bbm
Yoruyor beni gündeki saatler, dakikalar ve de saniyeler
         Dbm    Cm
Geri dön kahrolası

End of song Play again?

Nigar Muharrem - Senden Sonrasi Tabs

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Harmony analysis

Nigar Muharrem – Senden Sonrasi: key and chord analysis

The song opens on Cm and ends on Cm. 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 Fm is heard 4 times against 1 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	1×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	5×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	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	3×
iv	Dbm	Minor iv — borrowed from the parallel minorborrowed chord	Db · Fb · Ab	1×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	2×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	4×
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	4×
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	5×
v	Cm	Minor dominant — soft pull	C · Eb · G	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	3×
vi	Dbm	Chromatic colour chordoutside the key	Db · Fb · Ab	1×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	2×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 22 times in total; 6 of them sit naturally inside the shared scale. Dbm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bbm Fm Abii → vi Fmiv → iminor plagal ×2
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×1
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×1
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1

The move to watch is Bbm → Fm, heard 2 times. From the Fm side it is iv → i (minor plagal: deep and melancholic); from the Ab side it reads ii → 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 Bbm, land on Bb, Db, F — 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.
On Dbm, follow the chord's notes (Db · Fb · Ab) rather than the key's scale — it's a borrowed colour.

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 Cm, the song gives away its key from the very first bar. Cm, Bbm, Fm, Db carry the song: iii–ii–vi–IV relative to Ab, v–iv–i–VI relative to Fm. Dbm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Bbm → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. The final chord is Cm; 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.

Nigar Muharrem - Senden Sonrasi 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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