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)
Derya Uluğ - Kumar - Chord
Key Bb major – G minor Chords Gm, F, Ebmaj7 Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm F Ebmaj7 Gm Vurdumduymazdın ama F Aşk benzemez kumara Ebmaj7 Kalınca bir başına Koymadı mı koymadı mı Gm Doğmaz güneş bi daha F Zaten kederli hava Ebmaj7 Kalbin de gözyaşına Doymadı mı doymadı mı Gm Yanmış gemiler zaten F Oldun o gidenlerden Ebmaj7 Göğsümde bi yerlerde bi ağrı Gm Sordum seni ellerden F Çaldın ikimizden de Ebmaj7 Döndüm küle sen nasıl dayandın Gm F Ebmaj7 Gelir mi aklına yoksa Haber mi yollasam Gm F Ebmaj7 Bölündü uykular ardından Kötüymüş olmaman Gm Vurdumduymazdın ama F Aşk benzemez kumara Ebmaj7 Kalınca bir başına Koymadı mı koymadı mı Gm Doğmaz güneş bi daha F Zaten kederli hava Ebmaj7 Kalbin de gözyaşına Doymadı mı doymadı mı
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Derya Uluğ - Kumar Tabs
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Harmony analysis
Derya Uluğ – Kumar: key and chord analysis
The song opens on Gm and ends on Ebmaj7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
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 9 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 9× |
| V | F | Dominant — strongest pull home | F · A · C | 9× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 9× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 9× |
| 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 | — |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 9× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 9× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 27 times in total; 3 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
- Ebmaj7 Gm BbIVmaj7 → vi GmVImaj7 → iVI → i ×8
The move to watch is Ebmaj7 → Gm, heard 8 times. From the Gm side it is VImaj7 → i (VI → i: falls a half step into home); from the Bb side it reads IVmaj7 → 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Ebmaj7, land on Eb, G, Bb — 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. Gm, F, Ebmaj7 carry the song: vi–V–IVmaj7 relative to Bb, i–VII–VImaj7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → Gm (IVmaj7 → vi in Bb, VImaj7 → i in Gm): VI → i — falls a half step into home. It closes on Ebmaj7, letting the Bb 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.
Derya Uluğ - Kumar 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: Emrah Karakuyu-Derya UluğMusic: Asil Gök-Emrah Karakuyu
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