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)
Batu Akdeniz - Katiller Cenazede - Chord
Key Bb major – G minor Chords D, Bb, C, Eb, Gm, F, G Easy key C
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Key: Bb | Gm
Capo: 0
Gm D F C Eb Bb D
Gm D F
Beklentiler her yerdeler
C Eb
Saçma sapan hikayeler
Bb D
Sarmış beni bozulmuş düzenler
Gm D F
Bağlılıklar bağımlılıklar
C Eb
İçten yıkık dost hayatlar
Bb D
Bir yalanla bin doğruyu ezerler
G D
Masumiyet ölmüş yine
Bb C
Katiller cenazede
Eb Bb D
Gitmeye hiç yok yüzüm istesem de
G D
Çözülmez bir bilmece
Bb C
Yarattılar gündüz gece
Eb Bb D
İçinde kaybolmuşum bilmesem de
Gm D F
Sev kardeşim diye dolaşanlar
C Eb
Aşkı dünyaya haykıranlar
Bb D
Neden ilk onlar oldu gidenler
Gm D F
Elbet gelir benim de sıram
C Eb
O güne kadar susmaya devam
Bb D
Sonra düşünsün beni üzenler
G D
Masumiyet ölmüş yine
Bb C
Katiller cenazede
Eb Bb D
Gitmeye hiç yok yüzüm istesem de
G D
Çözülmez bir bilmece
Bb C
Yarattılar gündüz gece
Eb Bb D
İçinde kaybolmuşum bilmesem de
End of song Play again?
Batu Akdeniz - Katiller Cenazede Tabs
NotesX
Harmony analysis
Batu Akdeniz – Katiller Cenazede: key and chord analysis
The song opens on Gm and ends on D. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
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 it opens on Gm, Bb is heard 13 times against 5 for Gm 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | 13× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| V/V | C | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G | 9× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 18× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 9× |
| V | F | Dominant — strongest pull home | F · A · C | 5× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 5× |
| V/ii | G | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D | 4× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 5× |
| V/iv | G | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D | 4× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 13× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| IV | C | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 9× |
| 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 | 18× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 9× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 5× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 63 times in total; 4 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 D is V/vi, a secondary dominant heading for Gm. C, G act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- Eb Bb BbIV → Iplagal cadence GmVI → III ×9
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×4
The move to watch is Eb → Bb, heard 9 times. From the Gm side it is VI → III; from the Bb side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 D, land on D, F#, A — 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.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- When D 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
The opening Gm lays a solid floor for everything that follows. The chords that keep coming back are D, Bb, C, Eb; read them as V/vi–I–V/V–IV in Bb or V–III–IV–VI in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Eb → Bb (IV → I in Bb, VI → III in Gm): plagal cadence — the soft 'amen' ending. Ending on D, 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.
Batu Akdeniz - Katiller Cenazede Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Batu AkdenizMusic: Batu AkdenizArrangement: Batu Akdeniz
Bulut Gör
Bulut Gör
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