Mabel Matiz - Numaracı - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Cm7  Cm7  Fm7  Gm7

Cm7
Hiç anlamıyo’sun anladım
Fm7            Gm7
Sende öyle bir data yok
    Cm7
Ama şekil desen âlâsı var
Fm7          Gm7
Boncuğu bol, el çabuk

     Cm7
Hadi vur vurabilirsen beni
     Fm7        Gm7
Hadi öğret yine dersimi
   Cm7
Senden korkan senin gibi
  Fm7         Gm7
Olsun mu, olmasın mı?

     Cm7
Seni şapşal numaracı

Çapkın merhabacı
Fm7               Gm7
Damdan da düşeriz olmadı
Cm7
Hepsi mi senin?

Hadi kes benim haracı
   Fm7                Gm7
Şu servetin adını bi’ koymalı

Cm7
Seni şapşal numaracı

Koydun mu ilacı?
Fm7               Gm7
Daldan dala bi’ durulmalı
Cm7
Hepsi mi yarısı mı?

Kes benim haracı
   Fm7                Gm7
Şu servetin adını bi’ koymalı

        Cm7
Bi’ yol bulmalı bulmalı
Fm7              Gm7
Boşver canım sen onları
Cm7
Farketmez alt üst yavrum
   Fm7              Gm7
Bu şerbeti bu nabza sormalı

       Cm7
Çoktan aştık biz o yolları
Fm7              Gm7
Boşver canım sen onları
Cm7
Farketmez alt üst yavrum
   Fm7             Gm7  Cm7
Bu aşk bizi bizden alma lı

Cm7              Fm7
Ah beni duysan bi’
      Gm7
Şu an in’cek perde
Cm7            Fm7
Kendini bir salsan
     Gm7
Ne yakış’can benle
Cm7         Fm7
Kopmaya müsait
    Gm7
Yer gök yangın be
Cm7          Fm7
Aşka bi’ vesait
       Gm7
Aramız toz pembe

Cm7
Bi’ çanta bi’ plaka

Yola çık ite kaka
Fm7                 Gm7
Aşkıma bi’ fiyaka yapıştırsan
Cm7
Her bi’ yerde aradım

Bizim gibi yok ama
Fm7                 Gm7
Kavuşmaz iki yakam, kavuştursan
Cm7
Birbirimize pusula

Buluşsak ya beride
Fm7                Gm7
Alsan da şu garibi yatıştırsan

Cm7
Çok geride tatlım inan
  Fm7           Gm7
Güneşsiz günler çok geride
       Cm7
Hayat, kop hadi be, kop hadi be
  Fm7            Gm7
Tutuştuğu yerden kop hadi be
     Cm7
Aşk, al bizi al sok tribe
Fm7            Gm7
Cukkayı vur da çök garibe
Cm7
Sök kalbi sök
      Fm7        Gm7
Bırak dök derdi dök

Cm7  Cm7  Fm7  Gm7

dis-moi une fois
je t’aime, mon cheri
embrasses-moi fort, comme ça

End of song Play again?

Mabel Matiz - Numaracı Tabs

NotesX

Harmony analysis

Mabel Matiz – Numaracı: key and chord analysis

The song opens on Cm7 and ends on Gm7. 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 28 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	—
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	25×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	25×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	28×
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	28×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	25×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	25×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
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). 3 different chords appear 78 times in total; 3 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

Gm7 Cm7 Ebiii7 → vi7 Cmv7 → i7natural-minor cadence ×24

The move to watch is Gm7 → Cm7, heard 24 times. From the Cm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii7 → vi7. 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 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.
Over Gm7, land on G, Bb, D — 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 first chord is Cm7; the ear learns where home is within a second. Cm7, Fm7, Gm7 carry the song: vi7–ii7–iii7 relative to Eb, i7–iv7–v7 relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm7 → Cm7 (iii7 → vi7 in Eb, v7 → i7 in Cm): natural-minor cadence — gentle, modal arrival. Ending on Gm7, 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.