Mabel Matiz - Yeni Yaz - Chord

Key Eb major – C minor Chords Fm, Gm, Ab, Eb, Bb Easy key C (capo 3)

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Capo 0

Gm  Fm  Ab  Fm  Gm

     Eb             Gm
Açılıyor önümde kapılar yine
      Fm              Eb
Bağırıyor canım ağır ağır
                      Gm
Ateşi düştü göğsüme yeni bi yazın
      Fm              Eb
Yüreğimin gazelleri sağır

Eb                      Gm
Acıyo’ gençliğim, tutuşuyor kanım
    Fm          Eb
Halimi kime yanayım
                          Gm
Bi yanım azılı kör, göremiyor önü
       Fm               Eb
Koru diyor beni, beri yanım

       Ab               Gm
Sular akar ya köprü biliyor
      Ab              Gm
Baharıma bi yol bulacağım
     Ab              Gm
Acımadan sorar soruları kader
      Fm      Bb      Eb
Ama benim de var alacağım

Gm          Fm
Geçemem toy hevesimden
Ab          Fm      Gm
Küle yüzümü dönesim yok
              Fm
Yana yana yürüdüm bu çölü
Ab         Fm      Gm
Daha fazla bilesim yok

Gm          Fm
Ne karanfil ne kurbağa
Ab       Fm           Gm
Adını unutur insan burda
            Fm
Sevmenin sahrasında
Ab           Fm     Gm
Beni de yazdılar yolcu

Gm          Fm
Ne karanfil ne kurbağa
Ab       Fm           Gm
Adını unutur insan burda
            Fm
Sevmenin sahrasında
Ab            Fm     Gm
Beni de yaz dedim yolcu

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Mabel Matiz - Yeni Yaz Tabs

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Harmony analysis

Mabel Matiz – Yeni Yaz: key and chord analysis

The song opens on Gm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

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)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb major side because Eb is heard 7 times while Cm never appears. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	7×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	19×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	18×
III	G	Chromatic colour chordoutside the key	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	10×
V	Bb	Dominant — strongest pull home	Bb · D · F	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	—
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
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	7×
iv	Fm	Subdominant — moves away from home	F · Ab · C	19×
v	Gm	Minor dominant — soft pull	G · Bb · D	18×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	10×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 55 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Bb Eb EbV → Iauthentic cadence CmVII → III ×1
Fm Bb Ebii → Vii → V Cmiv → VII ×1

The move to watch is Bb → Eb, heard once. From the Eb side it reads V → I (authentic cadence: the strongest arrival home); from the Cm side it is VII → 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, 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.

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 opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Fm, Gm, Ab, Eb; read them as ii–iii–IV–I in Eb or iv–v–VI–III in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. The final chord is Gm; the ear comes to rest in Eb.

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.