Mabel Matiz - Kahrettim - Chord

Key Eb major – C minor Chords Cm, Fm, Ab, Gm Easy key C (capo 3)

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Capo 0

Cm  Fm  Ab  Gm

Cm        Fm
Bugün çok üzgünüm
   Ab  Gm 
Seni   kaybettim gibi
Cm       Fm           Ab
Sırtımda bir bıçak ve elin
     Gm
Öyle kaydettim gibi

Cm       Fm           Ab
Yanıp da sönmeyen bir alev bu
  Gm       Cm       Fm
Öldürmeyen ama ne yazık
Ab     Gm 
Süründürür

Cm       Fm            Ab
Varıp da dönmeyen bi yolun
  Gm        Cm       Fm
Altındaki heves ne yazık
Ab       Gm 
 Böyle kurur

Cm  Fm  Ab  Gm

Cm             Fm
Artık yapma yapma demem
Ab            Gm
Bu sözlerim kanar benim
Cm             Fm 
Söylenmedi hiç bir zaman
Ab            Gm
Seviyorduk, hayal değil

Cm          Fm
Yandı canım avlandı
            Ab
Tüm hayvanlarım
            Gm
Yollar bana yarar değil

Cm           Fm
Saplıyorum ağzımdaki
       Ab
Çiçekleri karanlığa
Gm
Yalan değil

Cm  Fm  Ab  Gm  Cm  Fm  Ab  Gm
      Yalaaaan, yalaaaaaaaaaaan
 
Cm        Fm                Ab
Ağlıyorum aldandı tüm yaldızlarım
          Gm
Ağarmayan kara benim

Cm         Fm                   Ab
Anlıyorum, harcın değil bu aşk ama
           Gm
Sağalmıyor yaram benim

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Mabel Matiz - Kahrettim Tabs

NotesX

Harmony analysis

Mabel Matiz – Kahrettim: key and chord analysis

The song opens on Cm and ends on Gm. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 16 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 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	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	16×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	16×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	16×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	16×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	16×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	16×
v	Gm	Minor dominant — soft pull	G · Bb · D	16×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	16×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 64 times in total; 4 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

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×15

The move to watch is Gm → Cm, heard 15 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — 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 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 Cm lays a solid floor for everything that follows. The backbone is Cm, Fm, Ab, Gm — vi–ii–IV–iii from the Eb side, i–iv–VI–v from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. The final chord is Gm; the ear comes to rest in Eb.

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.