Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Mabel Matiz - Kül Hece - Chord
Key Bb major – G minor Chords Dm, D#, F, A#, Gm, Cm, Bb Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Gm Dm
Gözlerin şen çocuk sesleri açıyor
D# A# Dm
Gözlerin yelkenimin fenerleri
Gm Dm
Bir sana titriyor gönüllü yaprağım
D# A# Dm
Ellerim bir seni terliyor
D# Dm
Sana içlensin şimdi o melekler
D# Dm
Sende dursun akrep ve yelkovan
D# Dm D# F
İçimdeki en acı suların bile şimdi bir tadı var
A# F
Uykular masal uykular sapsarı
D# Dm
Şimdi güz yüzünün en güzel yanı
Gm Dm
Ay gümüş geceler şarkılarda mey
D# F Bb
Ah teninle konuşur tenim uyanır
A# F
Uykular büyü uykular bilmece
D# Dm
Şimdi gül diken için bi kül hece
Gm Dm
Ay tutuklu geceler yürekte kor
D# F
Ah ne fayda gün ayaz
Cm Dm
Tenim adını üşüyor
Cm Dm Cm Dm Cm Dm D# A# F
End of song Play again?
Mabel Matiz - Kül Hece Tabs
NotesX
Harmony analysis
Mabel Matiz – Kül Hece: key and chord analysis
The song opens on Gm and ends on F. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Bb major and G minor because it opens on Gm and Bb is heard 6 times against 4 for Gm. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Bb or to Gm; 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A# | Tonic — home | A# · D · E# | 5× |
| I | Bb | Tonic — home | Bb · D · F | 1× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 4× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 15× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | D# | Subdominant — moves away from home | D# · G · A# | 11× |
| V | F | Dominant — strongest pull home | F · A · C | 6× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 4× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 4× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | A# | Relative major — the bright side | A# · D · E# | 5× |
| III | Bb | Relative major — the bright side | Bb · D · F | 1× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 4× |
| v | Dm | Minor dominant — soft pull | D · F · A | 15× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | D# | Submediant — warm colour | D# · G · A# | 11× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 6× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 46 times in total; 7 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
- D# A# BbIV → Iplagal cadence GmVI → III ×3
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×3
- D# F BbIV → VIV → V GmVI → VIIVI → VII ×3
- F A# BbV → Iauthentic cadence GmVII → III ×1
- F Bb BbV → Iauthentic cadence GmVII → III ×1
The move to watch is D# → A#, heard 3 times. From the Bb side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Gm side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over D#, land on D#, G, A# — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. Dm, D#, F, A# carry the song: iii–IV–V–I relative to Bb, v–VI–VII–III relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D# → A# (IV → I in Bb, VI → III in Gm): plagal cadence — the soft 'amen' ending. The final chord is F; the ear comes to rest in Bb.
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.
Mabel Matiz - Kül Hece Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.