Mabel Matiz - Boyalı Da Saçların - Chord

Key D major – B minor Chords Em, G, F#m, D, A, Bm Easy key G (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Bm  A  A  G  F#m

D

D                             Em         G
Boyalı da saçların ruhuma dolanırken tel tel
D                           Em      G
Boğuluyorum ama yok ilacı bunun tez gel
D                   Em
Kollarında kördüğümler çözülmez mi gönül
D                       Em
Ağrısında durur cevabı ama bakmıyor iki gözüm
F#m            Em       F#m        Em 
Her müphem bir fırtına olur, kalır izi


Bm         Em
Göremediin gözyaşımı
A          G     F#m
Silemediin gömleğine
Bm           Em
Ya bu sitemi kollarına al
A              G    F#m
Yanayım ya ben derdime

Em            G
Getiremediin, doyuramadıın
Em           F#m
Bitiremedim aman
Em          G
Ver bu canı şerefinle
Em         G       F#m
Vurdum ama öldüremedim

Bm  Em  A  G  F#m

Em  G  Em  G  F#m

D                           Em       G
Cigarası da tüter canım acısından yorgun
D                               Em     G
Kendi dalına düşman bu çiçeği nasıl sevsin
D                   Em
Kollarında kördüğümler çözülmez mi gönül
D                       Em
Ağrısında durur cevabı ama bakmıyor iki gözüm
F#m        Em        F#m       Em 
Mağlumuydun arandıkça kaybeder izin

End of song Play again?

Mabel Matiz - Boyalı Da Saçların Tabs

NotesX

Harmony analysis

Mabel Matiz – Boyalı Da Saçların: key and chord analysis

The song opens on Bm and ends on Em. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (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 D major and B minor because it opens on Bm and D is heard 9 times against 4 for Bm. 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 D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	9×
ii	Em	Supertonic — prepares the dominant	E · G · B	21×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	11×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	13×
V	A	Dominant — strongest pull home	A · C# · E	5×
vi	Bm	Relative minor — the melancholy side	B · D · F#	4×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	4×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	9×
iv	Em	Subdominant — moves away from home	E · G · B	21×
v	F#m	Minor dominant — soft pull	F# · A · C#	11×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	13×
VII	A	Subtonic — steps back to the tonic	A · C# · E	5×

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 63 times in total; 6 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

G D DIV → Iplagal cadence BmVI → III ×4
Em A Dii → Vii → V Bmiv → VII ×3
F#m Bm Diii → vi Bmv → inatural-minor cadence ×2
Em Bm Dii → vi Bmiv → iminor plagal ×1

The move to watch is G → D, heard 4 times. From the D side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Bm side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is Bm; the ear learns where home is within a second. Em, G, F#m, D carry the song: ii–IV–iii–I relative to D, iv–VI–v–III relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → D (IV → I in D, VI → III in Bm): plagal cadence — the soft 'amen' ending. Ending on Em, the song seals D 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.