Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Ece Mumay - Katran - Chord
Key G major – E minor Chords Bm7, Cmaj7, Am7, D, Em7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Cmaj7 Bm7 Sensiz de geçmez vaktim Am7 Bm7 Ürperdi ürkek kalbim Cmaj7 Bm7 Resimlere tek tek baktım Am7 Bm7 Bir görüş çok mu rabbim Cmaj7 Dönmez ki sensiz dünyam Bm7 Onsuz da yoktur seyri Am7 Mahşerde bitmez sevdam Bm7 Versem de canımı yüreğimi Cmaj7 İstersen olsun bitsin Bm7 Eller de baksın gülsün Am7 Beynimden aksın gitsin D Cmaj7 Gizlice öldürsün Em7 Olmazlara bile inandım Bm7 Teklikte dondum kaldım Em7 Bademe katran süzdüm Bm7 Her gece içtim yandım Cmaj7 Baştan nasıl söylendi Bm7 Ben saf ve gerçek sandım Am7 Arkamdan hep seslendi D Cmaj7 Sessizce baktım kaldım Cmaj7 Baştan nasıl söylendi Bm7 Ben saf ve gerçek sandım Am7 Arkamdan hep seslendi D Em7 Sessizce baktım kaldım
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Ece Mumay - Katran Tabs
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Harmony analysis
Ece Mumay – Katran: key and chord analysis
The song opens on Cmaj7 and ends on Em7. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because it comes to rest on Em and Em is heard 3 times while G never appears. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 6× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 11× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 8× |
| V | D | Dominant — strongest pull home | D · F# · A | 3× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 3× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 3× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 6× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 11× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 8× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 3× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 31 times in total; 5 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
- Am7 D Gii7 → Vii → V Emiv7 → VII ×3
- D Em7 GV → vi7deceptive cadence EmVII → i7Aeolian arrival ×1
- Cmaj7 Em7 GIVmaj7 → vi7 EmVImaj7 → i7VI → i ×1
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×1
The move to watch is Am7 → D, heard 3 times. From the Em side it is iv7 → VII; from the G side it reads ii7 → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Cmaj7 lays a solid floor for everything that follows. Bm7, Cmaj7, Am7, D carry the song: iii7–IVmaj7–ii7–V relative to G, v7–VImaj7–iv7–VII relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → D (ii7 → V in G, iv7 → VII in Em): ii → V — the classic preparation of the dominant. The final chord is Em7; the ear comes to rest in Em.
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 - Katran 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: Nazim Mamedoff & Ece MumayMusic: Nazim MamedoffArrangement: Semih Gönder
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