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)
Mabel Matiz - Aşkım Gülüm - Chord
Key Eb major – C minor Chords G, Ab, Fm, F Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
G Ab Fm G
G Ab
Söyle bana aşkım gülüm
Fm G
Sensiz nasıl geçsin günüm
Ab
Rahlenden aldım da eli
Fm G
Harlandı bak ardım önüm
G Ab
Yaralandım ceylan gibi
Fm G
Gezdim dağı, gördüm göğü
Ab
Harab oldu meskenlerim
Fm F
Fikrim firar, içim kördüğüm
G Ab
Ala gözlüm seyran değil
Fm G
Sensiz bana eksik ömür
Ab
Ben canımdan sürgün yedim
Fm G
Yıllar yılı gülmez gönül
G
Kolladım aklı kolay değil
Ab
Varmaz yolum ona, ray demir
Fm Ab G
Yolladım, varmadı mektubum ona
G
Geçerim hayat çölünden
Ab
Buna kendinden sürgün denir
Fm Ab G
Doğmadı, doğmadı bir güneş daha
G Ab Fm G
Annem, annem, annem öldüm
Ab Fm G
Dünya zordur, ben nice gördüm
G Ab Fm G
Annem, annem, annem öldüm
Ab Fm G
Dünya zordur, ben nice gördüm
Ab Fm G
Ben nice gördüm
Ab Fm G
Ben nice gördüm
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Mabel Matiz - Aşkım Gülüm Tabs
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Harmony analysis
Mabel Matiz – Aşkım Gülüm: key and chord analysis
The song opens on G and ends on G. 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)
- #7 = B (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 C minor side because the major V chord points straight at Cm. 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 | 15× |
| II | F | Chromatic colour chordoutside the key | F · A · C | 1× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| III | G | Chromatic colour chordoutside the key | G · B · D | 22× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 17× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | — |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | — |
| 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 | 15× |
| IV | F | Major IV — Dorian / melodic-minor colourmodal colour | F · A · C | 1× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 22× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 17× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 55 times in total; 2 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull. F step outside the scale as colour chords.
Chord movement
- Fm G Ebii → III Cmiv → Viv → V ×12
The move to watch is Fm → G, heard 12 times. From the Cm side it is iv → V (iv → V: the minor side's tension builder); from the Eb side it reads ii → III. 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — 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.
- When G comes, swap the scale's Bb for B: 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 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
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is G; the ear learns where home is within a second. The chords that keep coming back are G, Ab, Fm, F; read them as III–IV–ii–II in Eb or V–VI–iv–IV in Cm. G is the interesting twist: in Eb it is a chromatic chord (III), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Fm → G (ii → III in Eb, iv → V in Cm): iv → V — the minor side's tension builder. It closes on G, letting the Eb 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.
Mabel Matiz - Aşkım Gülüm 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: Mabel MatizMusic: Mabel Matiz
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