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 - Hanfendi - Chord
Key Bb major – G minor Chords Eb, Cm7, F, Bb Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Eb Cm7 F Bb
Eb Cm7
Yeni bir film bu, hani başlarken
F Bb Eb
Sıkılırsın da zaman hiç geçmez
Cm7
Suya girmekten çekinirsin ya
F Bb Eb
Hani rüzgarla sınanıp üşürsün
Eb
Tamam mı devam mı diyorsun
Cm7
Canın da sıkılmış heralde
F
Ya çiçeklerimiz nasıl soldu
Bb Eb
Sular mı kesildi şehirde
Eb
Bilirsin, palavra bu suçlar
Cm7
Yasakmış, hep aynı terane
F
Sınırları kaldırınca
Bb
Tüm kuşlar uçar
Eb Cm7
Gel hanfendi, durma gel, gönlüm sazdır kırma gel
F Bb
Bak yandık beraber, sahi ne haber
Eb Cm7
Gel hanfendi, durma gel, gönlüm sazdır kırma gel
F Bb
Bak yandık beraber, sönsün bu Mabel
Eb Cm7
O yüzün aynam, bakamam şimdi
F Bb Eb
Huyumuz aynı ve nedeni tam bu
Cm7
Biletim yandı, bi çözümün var mı
F Bb Eb
Ya dur Istanbul'da ya bir isyan bul
Eb
Tamam mı devam mı diyorsun
Cm7
Canın da sıkılmış heralde
F
Ya çiçeklerimiz nasıl soldu
Bb Eb
Sular mı kesildi şehirde
Eb
Bilirsin, palavra bu suçlar
Cm7
Yasakmış, hep aynı terane
F
Sınırları kaldırınca
Bb
Tüm kuşlar uçar
Eb Cm7
Gel hanfendi, durma gel, gönlüm sazdır kırma gel
F Bb
Bak yandık beraber, sahi ne haber
Eb Cm7
Gel hanfendi, durma gel, gönlüm sazdır kırma gel
F Bb
Bak yandık beraber, sönsün bu Mabel
End of song Play again?
Mabel Matiz - Hanfendi Tabs
NotesX
Harmony analysis
Mabel Matiz – Hanfendi: key and chord analysis
The song opens on Eb and ends on Bb. 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: to us the song feels closer to the Bb major side because it comes to rest on Bb and Bb is heard 13 times while Gm never appears. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
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 | Bb | Tonic — home | Bb · D · F | 13× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 13× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 17× |
| V | F | Dominant — strongest pull home | F · A · C | 13× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 13× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 13× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 17× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 13× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 56 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
- F Bb BbV → Iauthentic cadence GmVII → III ×13
- Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×13
The move to watch is F → Bb, heard 13 times. From the Bb side it reads V → I (authentic cadence: the strongest arrival home); from the Gm side it is VII → 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 Eb, land on Eb, G, Bb — 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 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
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Eb; the ear learns where home is within a second. The chords that keep coming back are Eb, Cm7, F, Bb; read them as IV–ii7–V–I in Bb or VI–iv7–VII–III in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. Ending on Bb, the song seals Bb 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.
Mabel Matiz - Hanfendi 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.
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Lyrics: Mabel MatizMusic: Mabel Matiz
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