Mabel Matiz - Gök Nerede - Chord

Key A major – F# minor Chords C#m7, Bm7, E, D Easy key C

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Capo 0

Bm7        C#m7      Bm7      C#m7
   Kalbim yolların sürgünü, aldırma
Bm7        C#m7     Bm7      C#m7
   Kararıyorum gölgesiz gururlarda

Bm7            C#m7
Sana değil bana değil
C#m7      Bm7     C#m7
Kaderimize bu feryat
Bm7             C#m7
Çareyi bul bana getir
C#m7       Bm7    C#m7
Çare ise sabır dua

D
Aaaaaaaaay
C#m7
Aaaaaaaaay
Bm7
Aaaaaaaay
C#m7
Eyvaaaaaaaaaaah

Bm7        C#m7
Kar bürüyor yollarımı
Bm7       C#m7
Kim doluyor kollarıma
Bm7         C#m7
Yağ da yetiş be
      Bm7      E
Yağmurun ağarmayan sabahları

Bm7      C#m7
Yandım aman yar demeden
Bm7      C#m7
Hangi ödünç kar canıma
Bm7           E
Yağ da devir şu dağlarımı
Bm7        C#m7
Görelim gök nerede

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Mabel Matiz - Gök Nerede Tabs

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Harmony analysis

Mabel Matiz – Gök Nerede: key and chord analysis

The song opens on Bm7 and ends on C#m7. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (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 A major and F# 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 A or to F#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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	17×
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	18×
III	C#	Chromatic colour chordoutside the key	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	1×
V	E	Dominant — strongest pull home	E · G# · B	2×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	—
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	—
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	17×
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	18×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	1×
VII	E	Subtonic — steps back to the tonic	E · G# · B	2×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 38 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

Bm7 E Aii7 → Vii → V F#miv7 → VII ×2

The move to watch is Bm7 → E, heard 2 times. From the A side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the F#m side it is iv7 → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on Bm7, the song gives away its key from the very first bar. The chords that keep coming back are C#m7, Bm7, E, D; read them as iii7–ii7–V–IV in A or v7–iv7–VII–VI in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → E (ii7 → V in A, iv7 → VII in F#m): ii → V — the classic preparation of the dominant. The final chord is C#m7; the ear comes to rest in A.

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.