Mabel Matiz - Gel - Chord

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

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Capo 0

Fm    Bbm    Eb    Fm

Fm           Bbm
Gel arsız firar
           Fm
Düş yollarıma densiz
             Bbm
Ben kaldım viran
           Fm
Geçmez bu ömür sensiz

Fm                    Bbm         
Bu dağlar taşlar şahidim olsun
Db    Eb         Fm
Kalbime sırlarımı gömdüm
                Bbm
Aslı bende, sureti kalsın
Db       Eb  Bbm      Cm
Ben görürüm beni aynasız da

Fm               Bbm
Gel anla dikenimden
                          Cm
Güllerim uyansın bahçelerimde
Bbm            Fm
Gel öyle bi' apansız
            Cm           Fm
Ellerim yansın ah ellerinde

Fm             Bbm
Gel anla halimden
                          Cm
Güllerim uyansın bahçelerimde
Bbm           Fm
Gel öyle bir kal ki
Tan yeri boyansın aşk hançeriyle

Fm    Bbm    Eb    Fm

Fm        Bbm
Aştım yolları
          Fm
Aşkı önüme koydum
           Bbm
Bir zeytin dalı
                Fm
Bir çift göz yeter, doydum

End of song Play again?

Mabel Matiz - Gel Tabs

NotesX

Harmony analysis

Mabel Matiz – Gel: key and chord analysis

The song opens on Fm and ends on Fm. 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 it both starts and finishes on Fm and Fm is heard 17 times while Ab never appears. 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	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	13×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	4×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	2×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	4×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	17×
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	17×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	13×
v	Cm	Minor dominant — soft pull	C · Eb · G	4×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	2×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	4×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 40 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

Bbm Fm Abii → vi Fmiv → iminor plagal ×6
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×3
Bbm Eb Abii → Vii → V Fmiv → VII ×2
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2

The move to watch is Bbm → Fm, heard 6 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 Fm, land on F, Ab, C — 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 Eb, land on Eb, G, Bb — 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 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 Fm, the song gives away its key from the very first bar. The backbone is Fm, Bbm, Eb, Cm — vi–ii–V–iii from the Ab side, i–iv–VII–v from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. The final chord is Fm; the ear comes to rest in Fm.

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.