Mabel Matiz - İki Satır Yara Aşkın Nur Yengi - Chord

Key Bb major – G minor Chords Cm7, Dm7, Bbmaj7, Ebmaj7, Gm7, Dm Easy key C

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Capo 0

Cm7  Cm7  Bbmaj7  Gm7

Bbmaj7     Cm7            Dm7        Cm7
Söyleniyoruum 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                 Dm7
Yüreğimde bu zorla, kalıcam yarı yolda
              Cm7                        Dm7
Ya bi tut şu elimden, 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  Cm7  Bbmaj7  Gm7

Bbmaj7       Cm7           Dm         Cm7
Ben yine sana gönderiyorum, en âlâ sevgimi
Bbmaj7      Cm7            Dm                 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

             Cm7                 Dm7
Yüreğimde bu zorla, kalıcam yarı yolda
              Cm7                        Dm7
Ya bi tut şu elimden, 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

End of song Play again?

Mabel Matiz - İki Satır Yara Aşkın Nur Yengi Tabs

NotesX

Harmony analysis

Mabel Matiz – İki Satır Yara Aşkın Nur Yengi: key and chord analysis

The song opens on Cm7 and ends on Dm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

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 Bb is heard 8 times against 2 for Gm. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
Imaj7	Bbmaj7	Tonic — home	Bb · D · F · A	8×
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	24×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	16×
iii	Dm	Mediant — a tonic-family shade	D · F · A	2×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	4×
V	F	Dominant — strongest pull home	F · A · C	—
vi7	Gm7	Relative minor — the melancholy side	G · Bb · D · F	2×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i7	Gm7	Tonic — home	G · Bb · D · F	2×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
IIImaj7	Bbmaj7	Relative major — the bright side	Bb · D · F · A	8×
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	24×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	16×
v	Dm	Minor dominant — soft pull	D · F · A	2×
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). 6 different chords appear 56 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

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
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Cm7; the ear learns where home is within a second. The chords that keep coming back are Cm7, Dm7, Bbmaj7, Ebmaj7; read them as ii7–iii7–Imaj7–IVmaj7 in Bb or iv7–v7–IIImaj7–VImaj7 in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Dm7, 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.