Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Ece Mumay - Şahit (İlyas Yalçıntaş) - Chord
Key G major – E minor Chords Bm7, Cmaj7, Am7, Gmaj7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Cmaj7 Bm7
Cmaj7 Bm7
Arasam mı duysam mı sesini yeniden
Üzülürmüyüm bilemem
Am7 Cmaj7
Bi sorsam halini bilsem yerini
Bm7
Gelirim inan ki hiç düşünmeden
Cmaj7
Ağlasam mı gülsem mi bilemem
Bm7
Bu durum bana tanıdık değil
Am7
Uzak olduk bi süre
Konuşmadık bile yeter
Gmaj7 Bm7
Kalbim buna alışık değil
Cmaj7
Ben sana aşık sen buna şahit
Bm7
Kalplere karşı değiliz hiç adil
Cmaj7 Am7
Kırdık dökdük yandık söndük
Bm7 Gmaj7
Aşkımızla doğduk öldük
End of song Play again?
Ece Mumay - Şahit (İlyas Yalçıntaş) Tabs
NotesX
Harmony analysis
Ece Mumay – Şahit (İlyas Yalçıntaş): key and chord analysis
The song opens on Cmaj7 and ends on Gmaj7. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G major side because it comes to rest on G and G is heard 2 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to G or to Em; 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 |
|---|---|---|---|---|
| Imaj7 | Gmaj7 | Tonic — home | G · B · D · F# | 2× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 3× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 7× |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 6× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| IIImaj7 | Gmaj7 | Relative major — the bright side | G · B · D · F# | 2× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 3× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 7× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 6× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 18 times in total; 4 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Cmaj7 lays a solid floor for everything that follows. Bm7, Cmaj7, Am7, Gmaj7 carry the song: iii7–IVmaj7–ii7–Imaj7 relative to G, v7–VImaj7–iv7–IIImaj7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Gmaj7; the ear comes to rest in G.
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.
Ece Mumay - Şahit (İlyas Yalçıntaş) 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: Sheyh ReeMusic: Sheyh ReeArrangement: Esad Fidan
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