Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Ece Mumay - Lila - Chord
Key Ab major – F minor Chords Cm7, Dbmaj7, Bbm7, Fm Easy key C
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Key: Ab | Fm
Capo: 0
Dbmaj7 Bbm7 Cm7
Kötülük etmem kimselere
Dbmaj7 Bbm7 Cm7
Kızamam artık kimselere
Bbm7 Cm7 Bbm7
Sen adil oldun herkesi koydun bi yere
Cm7
Kandırma kendini
Fm Dbmaj7
Estetikten herkes birebir benzer oldu
Fm Dbmaj7
Şimdilerde yaşın işin sorulmaz oldu
Adabı muaşeret
Kelimelere bi muhalefet
Bbm7 Cm7
Kırmızı mıydı en sevdiğin renk
Dbmaj7 Cm7
Benim lilaaaaaaaaa
Umrumda degil tüm renkler
Fm
Gözümde sönmüşler
Dbmaj7 Cm7
Onun elaaaaaaaaaa
Fm
Sorma nolur bana, o bile pespaye
End of song Play again?
Ece Mumay - Lila Tabs
NotesX
Harmony analysis
Ece Mumay – Lila: key and chord analysis
The song opens on Dbmaj7 and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it comes to rest on Fm and Fm is heard 4 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 5× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 7× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 4× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 5× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 7× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 22 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
- Cm7 Fm Abiii7 → vi Fmv7 → inatural-minor cadence ×3
- Dbmaj7 Fm AbIVmaj7 → vi FmVImaj7 → iVI → i ×1
The move to watch is Cm7 → Fm, heard 3 times. From the Fm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Dbmaj7, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Bbm7, land on Bb, Db, 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Dbmaj7; the ear learns where home is within a second. The backbone is Cm7, Dbmaj7, Bbm7, Fm — iii7–IVmaj7–ii7–vi from the Ab side, v7–VImaj7–iv7–i from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Fm (iii7 → vi in Ab, v7 → i in Fm): natural-minor cadence — gentle, modal arrival. The final chord is Fm; the ear comes to rest in Fm.
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.
Ece Mumay - Lila 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: Ece MumayMusic: Ece MumayArrangement: Semih Gönder
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