Ece Mumay - Tanrıça - Chord

Key Ab major – F minor Chords Cm, Bbm, Db, Eb, Fm, C7 Easy key C

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Capo 0

Fm
Şimdi kolaysa
          Cm
Gel anlat kendini en başından
Bbm
Bi kitapçık yazarım
          Cm            Eb
Kapağında en güzel fotoğrafım

Bbm
Çok içemem uykum gelir

Sayfa kıvırmam ayraç getir
Db
Hala ağzımda bi tat
C7
Kurtulamıyorum

Fm            Db
Bade gibi kadını bıraktın ama
Eb
Zor olur 
Cm       Bbm
Öldürmem yok olur
         Cm
İçimdeki bin parça olur
Bbm    Cm
Bir parça

Db              Bbm
Tanrıça sev birini
               Eb
Bu kez buluruz yolunu
Cm       Db
Öldürdüm kokunu
            Cm
Teker teker yapbozdu
  Bbm
Yapmadın bozdun

End of song Play again?

Ece Mumay - Tanrıça Tabs

NotesX

Harmony analysis

Ece Mumay – Tanrıça: key and chord analysis

The song opens on Fm and ends on Bbm. 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)
#7 = E (harmonic-minor leading tone from the V chord)

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, Fm is heard 2 times while Ab never appears and the major V chord points straight at Fm. 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	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	6×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	7×
V7/vi	C7	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G · Bb	1×
IV	Db	Subdominant — moves away from home	Db · F · Ab	4×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	3×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	2×
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	2×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	6×
v	Cm	Minor dominant — soft pull	C · Eb · G	7×
V7	C7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G · Bb	1×
VI	Db	Submediant — warm colour	Db · F · Ab	4×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	3×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 23 times in total; 5 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C7 is V7/vi, a secondary dominant heading for Fm.

Chord movement

C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×1
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×1
Bbm Eb Abii → Vii → V Fmiv → VII ×1

The move to watch is C7 → Fm, heard once. From the Fm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Ab side it reads V7/vi → vi (secondary resolution: C7 resolves a fourth up to 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, 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.
When C7 comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.

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

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

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. The chords that keep coming back are Cm, Bbm, Db, Eb; read them as iii–ii–IV–V in Ab or v–iv–VI–VII in Fm. C7 is the interesting twist: in Ab it is a chromatic chord (V7/vi), while in Fm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C7 → Fm (V7/vi → vi in Ab, V7 → i in Fm): harmonic-minor cadence — the major V resolves dramatically. Ending on Bbm, the song seals Ab as home.

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.