Mabel Matiz - Cicim Sarhoş - Chord

Key Bb major – G minor Chords Gm, F, Bb Easy key C

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Capo 0

Gm  Gm  Gm  F  Gm  Gm  Gm  Bb

Gm                   F
Ay doğdu gel, toy durma
Gm                 Bb
Gönlüm su, bulandırma
Gm                F
Uyandır halim sarhoş
Gm            Bb
Rüyamı uyandırma

Gm                   F
Ay doğdu gel, toy durma
Gm                 Bb
Gönlüm su, bulandırma
Gm                     F
Bana derler "cicim sarhoş"
Gm            Bb
Rüyamı uyandırma

Gm                         F
Nasıl edeyim yarim gözü hurmam
Gm                       Bb
Kollarında bilezikler burma

Gm                        F
Erimeden, yandı bu deli beden
Gm                  Bb
Dedim otur, açtım kucağımı ben

Gm                         F
Nasıl edeyim yarim gözü hurmam
Gm                       Bb
Kollarında bilezikler burma

End of song Play again?

Mabel Matiz - Cicim Sarhoş Tabs

NotesX

Harmony analysis

Mabel Matiz – Cicim Sarhoş: key and chord analysis

The song opens on Gm and ends on Bb. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor because it comes to rest on Bb, it opens on Gm and Gm is heard 20 times against 8 for Bb. Try reading the chords both ways and see which feels more like home to you.

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
I	Bb	Tonic — home	Bb · D · F	8×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	8×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	20×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	20×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	8×
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	8×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 36 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

F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×8

The move to watch is F → Gm, heard 8 times. From the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm); from the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Bb, 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 Gm; the ear learns where home is within a second. Gm, F, Bb carry the song: vi–V–I relative to Bb, i–VII–III relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): deceptive cadence — expected Bb, lands on Gm. Ending on Bb, 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.