Mabel Matiz - Düldül - Chord

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

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Capo 0

Gm  Bb  Ab  Fm  Cm  Fm  Gm

Ab           Gm    Ab        Gm
Yine sabahın körü, göremeden önü
Ab       Gm       Fm        Eb
Aldım düldülü de, vurdum yollara

Ab      Gm
Dara düşmeden
     Ab            Gm
Düze çıkmıyor mu gönül
Ab            Gm
Bardağım da doludur
    Fm           Eb
Ama içiyor puşt ömür

Gm                        Fm
Yandı cihan bak bestesi mahur da
Gm                      Fm
Mecnunum sırra erdim o uğurda
Gm                           Fm
Gel de gör beni canım aşk neyledi
Gm                          Fm
Taştım bendimden yar çare zuhurda

Gm      Bb
Eksildi kafamda tahta
  Ab             Fm
Değil matah da yaşamak, gülüm
             Cm
Bi’ kurtulsa kuşum kafesten
Fm               Gm
Karılsa deste bi daha

Gm          Bb
Sen seçtin, yazıldı yazgın
 Ab               Fm
Olur mu dizgin o ata? anam
         Cm
Anlarsın balık da kızgın
Fm                    Gm
Hâlik de üzgün, yok hata

Ab             Gm
Dalavereyi bi’ bırak canım
Ab            Gm
Biraz umut al hadi
Ab             Gm
Ne dünüm ne bu günüm kolay
Fm          Eb
İflahım yok hani

Ab          Gm
Sen koy bir plak yine
Ab           Gm
Bana gullümü getir
Ab        Gm
Zaten zor hayat canım
Fm           Eb
Hele yalınız beter

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Mabel Matiz - Düldül Tabs

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Harmony analysis

Mabel Matiz – Düldül: key and chord analysis

The song opens on Gm 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb major side because it comes to rest on Eb and Eb is heard 4 times against 3 for Cm. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

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	4×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	14×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	22×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	15×
V	Bb	Dominant — strongest pull home	Bb · D · F	3×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	3×
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	3×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	4×
iv	Fm	Subdominant — moves away from home	F · Ab · C	14×
v	Gm	Minor dominant — soft pull	G · Bb · D	22×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	15×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	3×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 61 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

Fm Cm Ebii → vi Cmiv → iminor plagal ×3

The move to watch is Fm → Cm, heard 3 times. From the Eb side it reads ii → vi; from the Cm side it is iv → i (minor plagal: deep and melancholic). 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 Gm, land on G, Bb, D — 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.
Over Fm, land on F, Ab, 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 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 Gm; the ear learns where home is within a second. The backbone is Gm, Ab, Fm, Eb — iii–IV–ii–I from the Eb side, v–VI–iv–III from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. It closes on Eb, letting the Eb side have the last word.

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.