Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
İbrahim Tatlıses - Nankör Kedi - Chord
Key Gb major – Eb minor Chords Bbm, B, Db, Abm, Ebm, Gb Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Bbm B Bbm B
Bbm B Db
Ne söyledim ne söyledim sana ne söyledim ki
Abm Bbm
Vurdun kapıyı gittin
Bbm B Db
Be vicdansız be insafsızın kızı be nankör kedi
Abm Bbm
İnsan birşey söyler
Db B
Sevmek dedin sevmedik mi
Ebm Db
Aşka boyun eğmedik mi
Bbm B
Bütün kötü huyları hatta güzel dostları
Abm Gb Bbm
Senin için terketmedik mi
Gb Bbm B Bbm
Bugün yine bana bana ayrılmak düşer
B Db B
Deli gibi döne döne savrulmak düşer
Ebm B Abm Bbm
Bugün yine bana bana of çekmek düşer
Bbm B Db Ebm
Offf offf offf offf
Gb Bbm B Bbm
Bugün yine bana bana ayrılmak düşer
B Db B
Deli gibi döne döne savrulmak düşer
Ebm B Abm Bbm
Bugün yine bana bana of çekmek düşer
B Db Ebm Bbm
aahh aahh aahh aahh
Gb Bbm B Bbm Bbm B Db B Ebm B Abm Bbm
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İbrahim Tatlıses - Nankör Kedi Tabs
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Harmony analysis
İbrahim Tatlıses – Nankör Kedi: key and chord analysis
The song opens on Bbm and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb minor side because Ebm is heard 6 times against 4 for Gb. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | 4× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 6× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 20× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 20× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 9× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 6× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 6× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 4× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 6× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 20× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 20× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 9× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 65 times in total; 6 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
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×7
- B Ebm GbIV → vi EbmVI → iVI → i ×4
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×2
The move to watch is B → Db, heard 7 times. From the Ebm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Gb side it reads IV → 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
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. The backbone is Bbm, B, Db, Abm — iii–IV–V–ii from the Gb side, v–VI–VII–iv from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → Db (IV → V in Gb, VI → VII in Ebm): VI → VII — the rising step that heads for the tonic. The final chord is Bbm; the ear comes to rest in Gb.
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.
İbrahim Tatlıses - Nankör Kedi 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: Yusuf HayaloğluMusic: Yusuf Hayaloğlu
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