Mabel Matiz - Ahu - Chord

Key A major – F# minor Chords Bm, Dbm, E, A, D, F#m, Dm Easy key C

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Capo 0

Bm    D    Dbm    Bm    E

A                   Bm
Yandı gönül gördüm ben ahı
Dbm     Bm   Dbm   A
Gözleri göz değil ahu
A                 Bm
Şaştı dalımda çiçeğim heyhat
Dbm      Bm   Dbm   A
Ben yoruldum yaz günahı

F#m          Dbm 
Yaz gidip güzden dönerken
Bm            E
Tez vuruldum ah gülerken
F#m        Dbm 
Şimdi tüm yollar hayırsız
Bm            E
Har büyür halim direnmez   

Bm               D                Dbm
Çal beni, çal gecem günüm, karışalım
           Bm       E
Çağırıp kadehlere baharı
Bm              D          Dbm
Al senin olsun en sarı yazlarım
           Bm          E             
Sarılıp da bir daha ayrılmamalı

Bm    D    Dbm    Bm    E

A                   Bm
Yandı gönül gördüm ben ahı
Dbm     Bm   Dbm   A
Gözleri göz değil ahu
A                Bm
Şaştı dalımda çiçeğim heyhat
Dbm      Bm   Dbm   A
Ben yoruldum yaz günahı 

F#m         Dbm 
Az gidip uzdan dönerken
Bm            E
Tez vuruldum ah gülerken
F#m        Dbm 
Şimdi tüm yollar hayırsız
Bm             E
Har büyür çağrem bulunmaz

A                         
Ah yaşım genç delikanlı
D              Dm
Düştüm kaldım perişan
Bm      Dbm
Aşk bürür ruhumu
D             E
Meylere kulum en başından

End of song Play again?

Mabel Matiz - Ahu Tabs

NotesX

Harmony analysis

Mabel Matiz – Ahu: key and chord analysis

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

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A major side because A is heard 9 times against 4 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	9×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	21×
iii	Dbm	Mediant — a tonic-family shade	Db · Fb · Ab	17×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	6×
iv	Dm	Minor iv — borrowed from the parallel minorborrowed chord	D · F · A	1×
V	E	Dominant — strongest pull home	E · G# · B	9×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	4×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	4×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	9×
iv	Bm	Subdominant — moves away from home	B · D · F#	21×
v	Dbm	Minor dominant — soft pull	Db · Fb · Ab	17×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	6×
vi	Dm	Chromatic colour chordoutside the key	D · F · A	1×
VII	E	Subtonic — steps back to the tonic	E · G# · B	9×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 67 times in total; 6 of them sit naturally inside the shared scale. Dm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bm E Aii → Vii → V F#miv → VII ×8
E A AV → Iauthentic cadence F#mVII → III ×3
E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×2
D E AIV → VIV → V F#mVI → VIIVI → VII ×1

The move to watch is Bm → E, heard 8 times. From the A side it reads ii → V (ii → V: the classic preparation of the dominant); from the F#m side it is iv → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. The backbone is Bm, Dbm, E, A — ii–iii–V–I from the A side, iv–v–VII–III from the F#m side. Dm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Bm → E (ii → V in A, iv → VII in F#m): ii → V — the classic preparation of the dominant. The final chord is E; the ear comes to rest in A.

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.