Ece Mumay - Kime Ne - Chord

Key A major – F# minor Chords C#m7, Bm7, E, F#m7, Dmaj7, Amaj7 Easy key C

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Capo 0

F#m7  F#m7  Dmaj7  E  Bm7  C#m7

C#m7
Söyle canım ne ister bu gönül
Bm7
Sersefilim kapında ölürüm
E 
Derdim derman olamaz bir ömür
             Bm7
Evlenelim mi bu yaza bir düğün

C#m7
Gözlerinde bir yakamoz görünür
Bm7                       C#m7
Sözüm söz seni hiç terk etmem
E
Gözlerinde bir yakamoz görünür
Bm7                C#m7
Sözüm söz seni hiç terk etmem

C#m7                  Bm7
Aşkından bin cefa çekerim

Sormam bir sefa bile
E
Ben gidemem yok öldüremem
Bm7         C#m7
Sen gibi kalbim taştan

C#m7
Çok görme bir lütuf bana
Bm7
Gönlünde bir yer ver bana
E
Yok sevemem kabul edemem
Dmaj7         C#m7
Deme sil beni yaz baştan

C#m7                Bm7
Hele bi hele bi gel gönlüme
    E               Amaj7
Boş ver el alemi de kime ne

C#m7
Gözlerinde bir yakamoz görünür
Bm7                       C#m7
Sözüm söz seni hiç terk etmem
E
Gözlerinde bir yakamoz görünür
Bm7                C#m7
Sözüm söz seni hiç terk etmem

C#m7                Bm7
Hele bi hele bi gel gönlüme
    E               Amaj7
Boş ver el alemi de kime ne

End of song Play again?

Ece Mumay - Kime Ne Tabs

NotesX

Harmony analysis

Ece Mumay – Kime Ne: key and chord analysis

The song opens on F#m7 and ends on Amaj7. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

7 = G# (leading tone, pulls home)
4 = D (the note that leans on the 3rd)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between A major and F# minor because it comes to rest on A and it opens on F#m. Try reading the chords both ways and see which feels more like home to you.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
Imaj7	Amaj7	Tonic — home	A · C# · E · G#	2×
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	12×
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	14×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	2×
V	E	Dominant — strongest pull home	E · G# · B	8×
vi7	F#m7	Relative minor — the melancholy side	F# · A · C# · E	2×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i7	F#m7	Tonic — home	F# · A · C# · E	2×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
IIImaj7	Amaj7	Relative major — the bright side	A · C# · E · G#	2×
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	12×
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	14×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	2×
VII	E	Subtonic — steps back to the tonic	E · G# · B	8×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 40 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

Bm7 E Aii7 → Vii → V F#miv7 → VII ×5
E Amaj7 AV → Imaj7authentic cadence F#mVII → IIImaj7 ×2
Dmaj7 E AIVmaj7 → VIV → V F#mVImaj7 → VIIVI → VII ×1

The move to watch is Bm7 → E, heard 5 times. From the A side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the F#m side it is iv7 → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The opening F#m7 lays a solid floor for everything that follows. The chords that keep coming back are C#m7, Bm7, E, F#m7; read them as iii7–ii7–V–vi7 in A or v7–iv7–VII–i7 in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → E (ii7 → V in A, iv7 → VII in F#m): ii → V — the classic preparation of the dominant. It closes on Amaj7, letting the A 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.