Mabel Matiz - Bahçemin En Zor Gülü - Chord

Key C major – A minor Chords Dm7, Em7, C, Am, Fm, F, G Difficulty already in its easiest key

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Capo 0

C                    Dm7     Em7   Dm7     C
Arıyordum gözlerinde ben yolumu,   ben yolumu
C                    Dm7        Em7   Dm7     C
Sana verdim bahçemin en zor gülünü,   zor gülünü
F           Fm          F          Fm         C
Defterim de ortalanmış, yad elinde yâr beklerken
                        Dm7       Em7   Dm7   C
Düşerim sensiz rüyadan, söyle bi’ var   mı oluru

Am          Em7       Dm7        Fm      C
Sana baktım, yeryüzünü gökyüzünü gördüm anam
Am         Em7      Dm7             Fm      C
Kaçıyorsun, ellerini kim tutuyorsa, sövdüm aman
Am          Em7       Dm7        Fm      C
Sana baktım, yeryüzünü gökyüzünü gördüm anam
Am          Em7     Dm7              Fm      C
Kaçıyorsun, ellerini kim tutuyor da, ben tutamam

Am          Em7
Et tırnaktan ayrılamaz
Dm7           Em7
Yok ben senden ayrılamam
Am             Em7
Sebep olduğun şu yangınımı
Dm7       Em7
Yangın ile durduramam

Am          Em7
Et tırnaktan ayrılamaz
Dm7           Em7
Yok ben senden ayrılamam
Am            Em7
Sana giden tüm yollarımın
Dm7        G          Am
Doldu tozu bak kundurama

Am  Em7  Dm7  Fm  C  Am  Em7  Dm7  Fm  G

End of song Play again?

Mabel Matiz - Bahçemin En Zor Gülü Tabs

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Harmony analysis

Mabel Matiz – Bahçemin En Zor Gülü: key and chord analysis

The song opens on C and ends on G. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the C major side because it opens on C. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	11×
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	16×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	16×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	2×
iv	Fm	Minor iv — borrowed from the parallel minorborrowed chord	F · Ab · C	8×
V	G	Dominant — strongest pull home	G · B · D	2×
vi	Am	Relative minor — the melancholy side	A · C · E	11×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	11×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	11×
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	16×
v7	Em7	Minor dominant — soft pull	E · G · B · D	16×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	2×
vi	Fm	Chromatic colour chordoutside the key	F · Ab · C	8×
VII	G	Subtonic — steps back to the tonic	G · B · D	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 66 times in total; 6 of them sit naturally inside the shared scale. Fm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Fm C Civ → Iminor plagal Amvi → III ×6
Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×3
G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
Dm7 G Cii7 → Vii → V Amiv7 → VII ×1

The move to watch is Fm → C, heard 6 times. From the C side it reads iv → I (minor plagal: a bittersweet arrival with a borrowed iv); from the Am side it is vi → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Em7, land on E, G, B — 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.
On Fm, follow the chord's notes (F · Ab · C) 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on C, the song gives away its key from the very first bar. The backbone is Dm7, Em7, C, Am — ii7–iii7–I–vi from the C side, iv7–v7–III–i from the Am side. Fm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Fm → C (iv → I in C, vi → III in Am): minor plagal — a bittersweet arrival with a borrowed iv. Ending on G, the song seals C as home.

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.