Ece Mumay - Galaksi - Chord

Key F major – D minor Chords Dm7, Bbmaj7, C, Am7 Easy key C (capo 5)

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Capo 0

Dm7
Karaları bağlamadan hadi bana gel
Am7
Durma durdurma beni
Bbmaj7
Saçını başını toplamadan bana gel
C
Sorma sordurma beni
Dm7
Tavrını tarzını saklamadan gel
Am7
Zorla, oldurma bizi
Bbmaj7
Memleket neresi ver artik adresi
C
 Nasi bi galaksi

Dm7
Şimdi ne farkeder Pazartesi, Cumartesi
                   Bbmaj7
Yanımda yoksun iyi mi böylesi

Aklım almıyo geldiğin yer neresi nası bi galaksi
Dm7
Eline beline dokunamaz oldum

Su gibi tenine sarılamaz oldum
Bbmaj7
Sensiz bi güne uyanamaz oldum

Bittim özüme sözüme dönemez oldum

Dm7
Kulun oldum, kapına kölen oldum
Bbmaj7
Yaralarını saralım
C
 Ah tiryakin oldum

Dm7
Karaları bağlamadan hadi bana gel
Am7
Durma durdurma beni
Bbmaj7
Saçını başını toplamadan bana gel
C
Sorma sordurma beni
Dm7
Tavrını tarzını saklamadan gel
Am7
Zorla, oldurma bizi
Bbmaj7
Memleket neresi ver artik adresi
C
 Nasi bi galaksi

End of song Play again?

Ece Mumay - Galaksi Tabs

NotesX

Harmony analysis

Ece Mumay – Galaksi: key and chord analysis

The song opens on Dm7 and ends on C. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it opens on Dm and Dm is heard 7 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	4×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	7×
V	C	Dominant — strongest pull home	C · E · G	5×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	7×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	7×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
v7	Am7	Minor dominant — soft pull	A · C · E · G	4×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	7×
VII	C	Subtonic — steps back to the tonic	C · E · G	5×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 23 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

Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×5
C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×4
Bbmaj7 Dm7 FIVmaj7 → vi7 DmVImaj7 → i7VI → i ×2

The move to watch is Bbmaj7 → C, heard 5 times. From the Dm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Bbmaj7, 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.

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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Dm7; the ear learns where home is within a second. The backbone is Dm7, Bbmaj7, C, Am7 — vi7–IVmaj7–V–iii7 from the F side, i7–VImaj7–VII–v7 from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → C (IVmaj7 → V in F, VImaj7 → VII in Dm): VI → VII — the rising step that heads for the tonic. It closes on C, letting the F side have the last word.

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.