Ece Mumay - Olmadı (Velet) - Chord

Key Bb major – G minor Chords F, Eb, Gm, Cm, Dm Easy key G (capo 3)

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Capo 0

Gm  F  Eb  Cm  Dm

    Gm             F
Yok olmadı, sabaha kadar
Eb
Konduramadım inan
Cm          Dm
Sorma bana, sus bana
Gm
Zoruma gitmedi desem de
F              Eb
Kanaya kanaya, toplanıyorum artık
Cm       Dm 
Senden sonunda

Gm
Dur dinle bir dakika
F
Bir anlık bir hataydı oysa
Eb
Ellerim hep açık semaya
Cm                Dm
İnan gönülden hiç kızmadım asla

Gm
Yüzümde nur doğar hep seninle
F
Canlanır ölü çiçekler yürekten
Eb
Sevmeyi bilmeyen insanlar mı
Cm               Dm 
Saracak etrafını bekle bir dakika

Gm
Dolmuyor asla
            F
Senden uzak vakitler anla
               Eb
Beni ben değil sen koru ya Rab

Gülüm her gün
Cm               Dm
Gir şu rüyama bu lütfu bağışla

Gmö
Ama dolmuyor hiç yerin anla
   F
Bu yangını söndüremez biri valla
Eb
İçimde fırtınalar kopartırım

Ne olur gel cennetim olsana

    Gm             F
Yok olmadı, sabaha kadar
Eb
Konduramadım inan
Cm          Dm
Sorma bana, sus bana
Gm
Zoruma gitmedi desem de
F              Eb
Kanaya kanaya, toplanıyorum artık
Cm       Dm 
Senden sonunda

Gm
Hem davalıyım hem davacı
F
Hem de davalıdan davacı
Eb
Gözlerine baka baka can veriyorum
Cm              Dm
Mevzu bile değil hangimiz inatçı
Gm             F
Verme artık bi ses
             Eb
Bu kadarı da pes
             Cm
Mukadderat dedim de ama bi
    Dm
Ben de verdim es

Gm                 F
Yine sarmış semayı simsiyah bulutlar değil imtihan
Eb
Gülüm eksiye düşmedi sevgin 
Cm                  Dm
Hiç bu deli kalbime dün doğar an ve an
Gm
Sesini duymaya hasretim adeta 
F
Yüzünü görmeye talibim anlasan
Eb                              Cm 
Benim bu geçen yıllarım senle kaldı hani
          Dm
Dönmüyor hiç geri baksana
Gm           F               Eb
Of, tenimden uzak, gönlümden ırak
                Cm           Dm
Gözümde bir yaş var ki neyim olacak

Gm          F
Sen çekinme ah
       Eb     Cm         Dm
Uzan elime bu dert sonun olacak

    Gm             F
Yok olmadı, sabaha kadar
Eb
Konduramadım inan
Cm          Dm
Sorma bana, sus bana
Gm
Zoruma gitmedi desem de
F              Eb
Kanaya kanaya, toplanıyorum artık
Cm       Dm 
Senden sonunda

End of song Play again?

Ece Mumay - Olmadı (Velet) Tabs

NotesX

Harmony analysis

Ece Mumay – Olmadı (Velet): key and chord analysis

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

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)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

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 and Gm is heard 16 times while Bb never appears. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	16×
iii	Dm	Mediant — a tonic-family shade	D · F · A	16×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	17×
V	F	Dominant — strongest pull home	F · A · C	17×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	16×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	16×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	16×
v	Dm	Minor dominant — soft pull	D · F · A	16×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	17×
VII	F	Subtonic — steps back to the tonic	F · A · C	17×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 82 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

Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×14
Eb Gm BbIV → vi GmVI → iVI → i ×1

The move to watch is Dm → Gm, heard 14 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — 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 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

3 semitones down · capo 3 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are F, Eb, Gm, Cm; read them as V–IV–vi–ii in Bb or VII–VI–i–iv in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Dm; the ear comes to rest in Bb.

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.