Mabel Matiz - Dalga - Chord

Key B major – G# minor Chords Emaj7, F#, D#m7, C#m7 Easy key C

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Capo 0

Emaj7  F#  D#m7  C#m7

Emaj7            F#
Sana seller nehirler gibiyim, ah
D#m7           C#m7
Akamam, bi yolu var mı?
Emaj7       F#         D#m7
Kokun tenimde dağılıyorken
              C#m7
Dünya gözlerin kadardı

Emaj7          F#
Yandı mı bilmem şu kalbin ama
D#m7               C#m7
Ya sen "o" değilsen? ah yıkıl’cam!
    Emaj7        F#
Bi’ gösterebilsem içimi sana
D#m7          C#m7
Dağları delmen gerekmez

Emaj7          F#
Yandı mı bilmem şu kalbin ama
D#m7               C#m7
Ya sen “o” değilsen? ah yıkıl’cam!
    Emaj7        F#
Bi’ gösterebilsen denizi
    D#m7          C#m7
Her dalgaya binmem gerekmez

Emaj7  F#  D#m7  C#m7

Emaj7     F#
Arıyorsun aşkı orda
    D#m7         C#m7
Sebebin bendim oysa
Emaj7     F#
Tüm işaretler oklar
     D#m7      C#m7
Bizi gösteriyorsa
  Emaj7          F#
Karanlığı deldin birden çıkageldin
D#m7           C#m7
Dedim 'bu beni bi’ yorsa'
Emaj7           F#
Mavi kırmızı haplarla
              D#m7           C#m7
Aklımı çeldin, şimdi seçmesi zor da olsa

Emaj7           F#
Yok dönemem eskiye
   D#m7             C#m7
Çoktan alıştım resmine

Emaj7          F#
Yandı mı bilmem şu kalbin ama
D#m7               C#m7
Ya sen “o” değilsen? ah yıkıl’cam!
    Emaj7        F#
Bi’ gösterebilsen denizi
    D#m7          C#m7
Her dalgaya binmem gerekmez

End of song Play again?

Mabel Matiz - Dalga Tabs

NotesX

Harmony analysis

Mabel Matiz – Dalga: key and chord analysis

The song opens on Emaj7 and ends on C#m7. Its chords belong to both B major and G#m, so every chord below is read both ways.

Major view

B major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = E (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 B major and G# minor. 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 B or to G#m; 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 B major
Degree	Chord	Role	Notes	In song
I	B	Tonic — home	B · D# · F#	—
ii7	C#m7	Supertonic — prepares the dominant	C# · E · G# · B	15×
iii7	D#m7	Mediant — a tonic-family shade	D# · F# · A# · C#	15×
III	D#	Chromatic colour chordoutside the key	D# · G · A#	—
IVmaj7	Emaj7	Subdominant — moves away from home	E · G# · B · D#	15×
V	F#	Dominant — strongest pull home	F# · A# · C#	15×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	—
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	G#m	Tonic — home	G# · B · D#	—
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	—
iv7	C#m7	Subdominant — moves away from home	C# · E · G# · B	15×
v7	D#m7	Minor dominant — soft pull	D# · F# · A# · C#	15×
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VImaj7	Emaj7	Submediant — warm colour	E · G# · B · D#	15×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	15×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 60 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

Emaj7 F# BIVmaj7 → VIV → V G#mVImaj7 → VIIVI → VII ×15

The move to watch is Emaj7 → F#, heard 15 times. From the B side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the G#m side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
Over Emaj7, land on E, G#, B — 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 D#m7, land on D#, F#, A# — 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 B major shapes

Capo 2 + A shapes
Capo 4 + G shapes
Capo 7 + E shapes

With G# minor shapes

Capo 4 + Em shapes
Capo 6 + Dm shapes

Easiest keys on guitar

1 semitone up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The first chord is Emaj7; the ear learns where home is within a second. The backbone is Emaj7, F#, D#m7, C#m7 — IVmaj7–V–iii7–ii7 from the B side, VImaj7–VII–v7–iv7 from the G#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Emaj7 → F# (IVmaj7 → V in B, VImaj7 → VII in G#m): IV → V — the lift that builds tension before home. It closes on C#m7, letting the B 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.