Mabel Matiz - Ha Leylim - Chord

Key Bb major – G minor Chords Cm, Gm, Dm, F, Eb, D7 Easy key C

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Capo 0

Cm  Cm  Gm  Gm  Dm  Cm  Gm  Dm  

Gm               Dm
Baş koydum senle aşkın yastığına
F              Cm
Aşkolsun gelme görmezden
Gm               Dm
Yangın var bende söndürüver bari
F               Cm
Bir rüzgar esti körfezden

Cm              Eb
Alsam versem de düşse bu süngü
  Dm            F
O ağzında bir güneşlensem
Cm              Eb
Çektim çoktan kapılarına sürgüyü
   Dm             F
Ya teslim ol ya güreş benlen

          Gm                Cm
Kaptırdım seline, kandım meçhulüne
        Eb
Sayende ağaç oldum burda
Dm
Sokağında caddende
Gm                   Cm
Sabrımın da sonu var biline
         Eb
Kızgın demir hep avucumda
Dm 
Darlandı müneccimler
D7
Gel kurtar oku değdir kalbime
Cm           Gm
Çabuk, haydi çabuk

Cm
Ha leylim bi’ ses ver be güzelim
   Gm
Bu gece bana gel şeker ezelim
Dm                 Cm
Yaradan duysun da, muradımı versin de
Gm               Dm
Yaz maz gelsin gezinelim

Cm
Garibim, keşkem ve helalim
Gm
Dola sen boynuma vebalin’
Dm                  Cm
Nişanımız olsun da, tüm kasaba bilsin de
Gm                Dm             Gm
Sağ elinde dursun sol elim, sol elim

Cm  Cm  Gm  Gm  Dm  Cm  Gm  Dm

End of song Play again?

Mabel Matiz - Ha Leylim Tabs

NotesX

Harmony analysis

Mabel Matiz – Ha Leylim: key and chord analysis

The song opens on Cm and ends on Dm. 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)
#7 = F# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because Gm is heard 16 times while Bb never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb major, and switching between the two views is exactly where the practice value lies.

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	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	17×
iii	Dm	Mediant — a tonic-family shade	D · F · A	14×
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	1×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	4×
V	F	Dominant — strongest pull home	F · A · C	4×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	16×
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	16×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	17×
v	Dm	Minor dominant — soft pull	D · F · A	14×
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	1×
VI	Eb	Submediant — warm colour	Eb · G · Bb	4×
VII	F	Subtonic — steps back to the tonic	F · A · C	4×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 56 times in total; 5 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm.

Chord movement

Cm Gm Bbii → vi Gmiv → iminor plagal ×10
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×3
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1

The move to watch is Cm → Gm, heard 10 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.

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

Starting on Cm, the song gives away its key from the very first bar. The backbone is Cm, Gm, Dm, F — ii–vi–iii–V from the Bb side, iv–i–v–VII from the Gm side. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. The final chord is Dm; the ear comes to rest in Bb.

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.