Mabel Matiz - Kara Dantelli Gençliğimize - Chord

Key D major – B minor Chords Em7, F#m7, Gmaj7, Dmaj7, D, Fm7 Easy key C (capo 2)

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Capo 0

Gmaj7  F#m7  Gmaj7  F#m7  Em7  Fm7  Gmaj7  F#m7  Em7  Dmaj7

Dmaj7     Em7
Arıyordum tam yerine geldim
Dmaj7       Em7
Medet umdum benliğimi verdim
Dmaj7      Em7
Bulamam şimdi adımı oysa
F#m7              Em7
Ya nereye koydun efendim
F#m7              Em7
Vebaldin, acımla ödendin

F#m7
Şarabım burda sensiz
Em7                       F#m7
Harab oldum bak masam özensiz

Hani söylerdik bi’ şarkı
Em7
O kara dantelli gençliğimize

Gmaj7                        F#m7
Ağlıyordum orda hep yerli yersiz

Yara bendim yara bendim
Gmaj7                   F#m7
Aynı çember aynı akıllarda boğulurken
         
Ne ara yendin
Em7
Kapandı perdeler ve alkış
Gmaj7             F#m7
Yerde durdu ahım, neydi ha günahım
Em7               D    Em7        D
Gelse de sabahım, yok, bakıyor da gözüm
          Em7        F#m7
Aman aman göremez şimdi 

Dmaj7       Em7
Anladım her yol kendime vardı
Dmaj7      Em7
Bendeki mevsim kışı savardı
Dmaj7           Em7
Ben yeşil yaz bakışını severken
F#m7               Em7
Bana niye karlar yağardı
F#m7              Em7
Denizler acımla kabardı 

F#m7
Şarabım burda sensiz
Em7                       F#m7
Harab oldum bak masam özensiz

Hani söylerdik bi’ şarkı
Em7
O kara dantelli gençliğimize 

Gmaj7
Ağlıyordum orda hep yerli yersiz
F#m7
Yara bendim yara bendim
Gmaj7                   F#m7
Aynı çember aynı akıllarda boğulurken yanıverdim

Em7          F#m7
Kapandı perdeler ve alkış
Gmaj7
Yerde durdu ahım
F#m7
Neydi ha günahım
Em7
Gelse de sabahım
D              Em7
Of, bakıyor da gözüm aman aman
Em7         F#m7
Görüyor şimdi

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Mabel Matiz - Kara Dantelli Gençliğimize Tabs

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Harmony analysis

Mabel Matiz – Kara Dantelli Gençliğimize: key and chord analysis

The song opens on Gmaj7 and ends on F#m7. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C# (leading tone, pulls home)
4 = G (the note that leans on the 3rd)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D major side because D is heard 10 times while Bm never appears. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
Imaj7	Dmaj7	Tonic — home	D · F# · A · C#	7×
I	D	Tonic — home	D · F# · A	3×
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	24×
biii7	Fm7	Chromatic colour chordoutside the key	F · Ab · C · Eb	1×
iii7	F#m7	Mediant — a tonic-family shade	F# · A · C# · E	20×
III	F#	Chromatic colour chordoutside the key	F# · A# · C#	—
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	9×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	—
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	—
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
IIImaj7	Dmaj7	Relative major — the bright side	D · F# · A · C#	7×
III	D	Relative major — the bright side	D · F# · A	3×
iv7	Em7	Subdominant — moves away from home	E · G · B · D	24×
#iv7	Fm7	Chromatic colour chordoutside the key	F · Ab · C · Eb	1×
v7	F#m7	Minor dominant — soft pull	F# · A · C# · E	20×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VImaj7	Gmaj7	Submediant — warm colour	G · B · D · F#	9×
VII	A	Subtonic — steps back to the tonic	A · C# · E	—

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 64 times in total; 5 of them sit naturally inside the shared scale. Fm7 step outside the scale as colour chords.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

Improvisation tips

D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over Gmaj7, land on G, B, 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 D major shapes

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Gmaj7 lays a solid floor for everything that follows. Em7, F#m7, Gmaj7, Dmaj7 carry the song: ii7–iii7–IVmaj7–Imaj7 relative to D, iv7–v7–VImaj7–IIImaj7 relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is F#m7; the ear comes to rest in D.

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.