Mabel Matiz - Bir Serçe Üzülür - Chord

Key D major – B minor Chords D, A7, Em7, F#m7, Gm, A, F#m Easy key C (capo 2)

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Capo 0

D  D  F#m7  Em7  F#m7  Em7  D
Em7  F#m7  Em7  A7  D  Em7  A7  D

D                 F#m7  A
Başlarda hep mutlu     oooou
Em7          A7    D
Sonra bir serçe üzülür 
                 F#m7  A7
Beklersin hep sürsün  oooou
Em7        A7     D
Kalbin inceden ezilir

F#m7          Em7
Yanmıyorsa da lambası evin
F#m7         Em7
Sen sarıl umuda, gül, sevin
F#m7          Em7
Anlıyorsa da, elde değilse de
F#m7        Em7         A7
Doluyorsa da gözlerin o gözlerin

D               A7
Ben seher olsam sense bi türkü
Em7            A7        D
Yak ciğerimden yak da bi gel
               A7
Sar cigaram tütsün tabi yani
Em7           A7       D
Bir acıtırsan bin tabi gel

Gm              A7       D
Sensiz ağır geliyor bu kader
Gm              A7       D
Sensiz ağır geliyor bu kader

D              F#m7   A7
Damarıma çok bastı  oooou
Em7          A7     D
Oldurur mu bizi bu acı
D                  F#m   A7
Biraz neşe çoğu yastı  oooou
Em7           A7        D
Eğilen mi hep düşürür tacı

End of song Play again?

Mabel Matiz - Bir Serçe Üzülür Tabs

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Harmony analysis

Mabel Matiz – Bir Serçe Üzülür : key and chord analysis

The song opens on D and ends on D. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C# (leading tone, pulls home)
4 = G (the note that leans on the 3rd)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D major side because it both starts and finishes on D and D is heard 17 times while Bm never appears. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	17×
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	15×
iii7	F#m7	Mediant — a tonic-family shade	F# · A · C# · E	10×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	1×
III	F#	Chromatic colour chordoutside the key	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	—
iv	Gm	Minor iv — borrowed from the parallel minorborrowed chord	G · Bb · D	2×
V7	A7	Dominant — strongest pull home	A · C# · E · G	16×
V	A	Dominant — strongest pull home	A · C# · E	1×
vi	Bm	Relative minor — the melancholy side	B · D · F#	—
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	—
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	17×
iv7	Em7	Subdominant — moves away from home	E · G · B · D	15×
v7	F#m7	Minor dominant — soft pull	F# · A · C# · E	10×
v	F#m	Minor dominant — soft pull	F# · A · C#	1×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	—
vi	Gm	Chromatic colour chordoutside the key	G · Bb · D	2×
VII7	A7	Subtonic — steps back to the tonic	A · C# · E · G	16×
VII	A	Subtonic — steps back to the tonic	A · C# · E	1×

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 62 times in total; 6 of them sit naturally inside the shared scale. Gm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

A7 D DV7 → Iauthentic cadence BmVII7 → III ×11
Em7 A7 Dii7 → V7ii → V Bmiv7 → VII7 ×9

The move to watch is A7 → D, heard 11 times. From the D side it reads V7 → I (authentic cadence: the strongest arrival home); from the Bm side it is VII7 → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
On Gm, follow the chord's notes (G · Bb · D) rather than the key's scale — it's a borrowed colour.

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 D major shapes

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on D, the song gives away its key from the very first bar. The backbone is D, A7, Em7, F#m7 — I–V7–ii7–iii7 from the D side, III–VII7–iv7–v7 from the Bm side. Gm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on A7 → D (V7 → I in D, VII7 → III in Bm): authentic cadence — the strongest arrival home. The final chord is D; the ear comes to rest in D.

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.