Ece Mumay - Hengame - Chord

Key Ab major – F minor Chords Eb, Fm, Db, Bbm, Cm, C#, Ab Easy key G (capo 1)

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Capo 0

Fm  Eb  C# Eb

Fm
Bi' başkalaştı son dönemde sen ve aşkın
                    Eb 
Hataların arşı aştı bardağın da taştı
Db                                    Eb
Hiç anlamadım, anlattım baktım derdimi

Fm
Nasıl bir telaştı, bu kocaman hengamenin içinde
                     Eb
Nereye kaçtı hevesin, gözlerimin önünde
Db                          Eb
Sormadım soramadım, hikayeni

Fm
Kaç gece oldu içime bir sıkıntı doğdu
                       Eb
Konduramadım ama çiçek böcek ne varsa hepsi soldu
Db 
Olduramadım yok, bir türlü tutturamadım
                        Eb
Bir türlü sana yakıştıramadım

Fm
Yürüyorum arkamda tozlu çerçeveler
Eb
Bırakmadım tek biz ne senden
        Db
Ne eski benden, haberini aldım biri varmış eskilerden
Eb
Duymak isterim son bir kez sen giderken

Fm              Eb
Günler geçse de dünler geçmez
Db
Ne olur susturma beni
Fm             Eb
Sen ve ihanetin buna dirayetim
Db
Güç olur kusturma beni

      Eb            Bbm      Cm
Çünkü ne varsa sana dair unuttum
      Ab            Bbm       Cm
Çünkü ne varsa bize dair kuruttum

End of song Play again?

Ece Mumay - Hengame Tabs

NotesX

Harmony analysis

Ece Mumay – Hengame: key and chord analysis

The song opens on Fm and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

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)

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 opens on Fm and Fm is heard 7 times against 1 for Ab. 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	1×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	2×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	2×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	6×
IV	C#	Subdominant — moves away from home	C# · E# · G#	1×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	13×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	7×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	7×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	1×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	2×
v	Cm	Minor dominant — soft pull	C · Eb · G	2×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	6×
VI	C#	Submediant — warm colour	C# · E# · G#	1×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	13×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 32 times in total; 7 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

Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×5
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×5
C# Eb AbIV → VIV → V FmVI → VIIVI → VII ×1
Db Fm AbIV → vi FmVI → iVI → i ×1

The move to watch is Eb → Fm, heard 5 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — 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

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. Eb, Fm, Db, Bbm carry the song: V–vi–IV–ii relative to Ab, VII–i–VI–iv relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. It closes on Cm, letting the Ab 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.