Sezen Aksu - Ah Mazi - Chord

Key Eb major – C minor Chords Bb, Cm7, Fm7, Eb, Gm7, G7, Ab, Abmaj7 Easy key C (capo 3)

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Capo 0

Cm7  Gm7  Fm7  Bb  Eb  G7

Cm7          Fm7       Ab     Bb    Gm7
Titresin bir mum alevinde o eski günler
Cm7          Fm7        Ab       Bb  Gm7
Bir gümüş çerçeveden seyret yine maziyi
Cm7   Bb   Ab   Gm7   Fm7    Bb    Eb   Abmaj7
Bir nezaketli ince söz duyar da belkiiiiiii
Cm7  Bb    Ab    Gm7  Fm7   Bb    Eb  G7
O sararmış resmin hayat bulur yeniden

Cm7             Gm7
Ah nerede hani, ah nerede hani
Fm7           Bb            Eb          G7
Bir şiir gibi narin ve sevdalıydı geçen o zaman
Cm7               Gm7
Ah yanarım yanar, ah yüreğim sızlar
Fm7             Bb         Eb
Bu bir vazgeçiş mi yoksa zaman

Cm7           Fm7          Bb        Eb  G7
Bir hasret ki her sabah gün ağırırken ben
Cm7       Fm7  Gm7  Eb    Bb         Eb     Bb  Eb
Dilerim yeter ki gün eksilmesin penceremden

Cm7   Bb   Ab   Gm7   Fm7    Bb    Eb   Abmaj7
Bir nezaketli ince söz duyar da belkiiiiiii
Cm7  Bb    Ab    Gm7  Fm7   Bb    Eb  G7
O sararmış resmin hayat bulur yeniden

Cm7             Gm7
Ah nerede hani, ah nerede hani
Fm7           Bb            Eb          G7
Bir şiir gibi narin ve sevdalıydı geçen o zaman
Cm7               Gm7
Ah yanarım yanar, ah yüreğim sızlar
Fm7             Bb         Eb
Bu bir vazgeçiş mi yoksa zaman

Cm7  Gm7  Fm7  Bb  Eb  G7

Kaldırımlara sümbüli bir yağmur inerdi
Ve tiz bir kadın sesinde bir devir inlerdi

Cm7               Gm7
Ah yanarım yanar, ah yüreğim sızlar
Fm7             Bb         Eb
Bu bir vazgeçiş mi yoksa zaman

End of song Play again?

Sezen Aksu - Ah Mazi Tabs

NotesX

Harmony analysis

Sezen Aksu – Ah Mazi: key and chord analysis

The song opens on Cm7 and ends on Eb. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)
#7 = B (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between Eb major and C minor because it comes to rest on Eb, it opens on Cm and the major V chord points straight at Cm. 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	15×
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	15×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	14×
V7/vi	G7	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D · F	7×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	6×
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	2×
V	Bb	Dominant — strongest pull home	Bb · D · F	20×
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	15×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i7	Cm7	Tonic — home	C · Eb · G · Bb	15×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	15×
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	15×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	14×
V7	G7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D · F	7×
VI	Ab	Submediant — warm colour	Ab · C · Eb	6×
VImaj7	Abmaj7	Submediant — warm colour	Ab · C · Eb · G	2×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	20×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 94 times in total; 7 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G7 is V7/vi, a secondary dominant heading for Cm.

Chord movement

Bb Eb EbV → Iauthentic cadence CmVII → III ×14
Fm7 Bb Ebii7 → Vii → V Cmiv7 → VII ×12
G7 Cm7 EbV7/vi → vi7secondary resolution CmV7 → i7harmonic-minor cadence ×7
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×2
Gm7 Cm7 Ebiii7 → vi7 Cmv7 → i7natural-minor cadence ×2
Abmaj7 Cm7 EbIVmaj7 → vi7 CmVImaj7 → i7VI → i ×2

The move to watch is Bb → Eb, heard 14 times. From the Eb side it reads V → I (authentic cadence: the strongest arrival home); from the Cm side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
When G7 comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.

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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

The opening Cm7 lays a solid floor for everything that follows. Bb, Cm7, Fm7, Eb carry the song: V–vi7–ii7–I relative to Eb, VII–i7–iv7–III relative to Cm. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. Ending on Eb, the song seals Eb 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.