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 - İki Satır Yara - Chord
Key Bb major – G minor Chords Cm7, Dm7, Bbmaj7, Ebmaj7 Easy key C
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Key: Bb | Gm
Capo: 0
Bbmaj7 Cm7 Dm7 Cm7
Söyleniyorum söyleniyorum öğrenemiyorum
Bbmaj7 Cm7 Dm7 Cm7
O gözlerin bana iki satır yara okudum ölüyorum
Ebmaj7 Dm7
Vardığı kere dön aynı yere
Cm7 Dm7
Kalbin menzilime yar değil mi
Ebmaj7 Dm7
Caydırır zaman gerçeği, tamam
Cm7 Bbmaj7
Rüyana al beni
Cm7
Yüreğimde bu zorla
Dm7
Kalıcam yarı yolda
Cm7
Ya bi tut şu elimden
Dm7
Ya felaketim hazır olda
Cm7
Nerede sonum, ne kadar devam
Dm7
İpine tutundum, şahit kuyum da
Cm7
Alın yazımdın, aşkla yazıldın
Dm7
Soldu nasılsa, uçtun elimden
Cm7 Dm7 Cm7 Dm7 Cm7 Dm7 Cm7 Dm7 Cm7 Bbmaj7
Bbmaj7 Cm7 Dm7 Cm7
Ben yine sana gönderiyorum en âlâ sevgimi
Bbmaj7 Cm7 Dm7 Cm7
Kendime sokuldum dert yamıyorum, ver bana silgimi
Ebmaj7 Dm7
Vardığı kere dön aynı yere
Cm7 Dm7
Kalbin menzilime yar değil mi
Ebmaj7 Dm7
Caydırır zaman gerçeği, tamam
Cm7 Bbmaj7
Rüyana al beni
End of song Play again?
Mabel Matiz - İki Satır Yara Tabs
NotesX
Harmony analysis
Mabel Matiz – İki Satır Yara: key and chord analysis
The song opens on Bbmaj7 and ends on Bbmaj7. 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 both starts and finishes on Bb and Bb is heard 7 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 |
|---|---|---|---|---|
| Imaj7 | Bbmaj7 | Tonic — home | Bb · D · F · A | 7× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 21× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 18× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 4× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| 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 | — |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 7× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 21× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 18× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 4× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 50 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Bbmaj7, land on Bb, D, F — 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
- 2 semitones up
- 4 semitones up
The song's harmonic story
The opening Bbmaj7 lays a solid floor for everything that follows. Cm7, Dm7, Bbmaj7, Ebmaj7 carry the song: ii7–iii7–Imaj7–IVmaj7 relative to Bb, iv7–v7–IIImaj7–VImaj7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Bbmaj7, letting the Bb 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.
Mabel Matiz - İki Satır Yara 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 Matiz, Murad GünerMusic: Mabel Matiz
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