Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Melis Fis - Kara Kedi - Chord
Key Eb major – C minor Chords Cm, Fm, G7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Fm G7 Cm
x2
Cm Fm
Kara kedi gireceğine aramıza
G7 Cm
Seni şöyle alalım otur yakınımıza
Fm
Tüm gereksiz arızalar gitti gideli
G7 Cm
Günün en güzeli sen güzeliz iki deli
Fm
Olsun varsın seveni çok
Cm
Önüme geçme yanarsın ateşi çok
G7
Sana bir arıza lazım bu gecelik
Cm
Yüz yüze bakışalım hangimiz platonik
Fm
Olsun varsın seveni çok
Cm
Önüme geçme yanarsın ateşi çok
G7
Sana bir arıza lazım bu gecelik
Cm
Yüz yüze bakışalım hangimiz fotojenik
Cm Fm
Kara kedi gireceğine aramıza
G7 Cm
Seni şöyle alalım otur yakınımıza
Fm
Tüm gereksiz arızalar gitti gideli
G7 Cm
Günün en güzeli sen güzeliz iki deli
x2
Cm Fm G7 Cm
x2
Cm Fm
Can alıcı olmadı yemedi sözüm
G7 Cm
Acımasız olalım hadi gel iki gözüm
Fm
Buda çözüm olmadı can acısına
G7 Cm
Seni öne yazalım yürek atamasına
Fm
Olmadı bitmedi fiyakası
Cm
Havalı zor beni zirvede tanıması
G7
Yüreği aynı onun gibi deli ziyan
Cm
Yüz yüze konuşalım kapalı kapı cihan
Fm
Olsun varsın seveni çok
Cm
Önüme geçme yanarsın ateşi çok
G7
Sana bir arıza lazım bu gecelik
Cm
Yüz yüze bakışalım hangimiz fotojenik
Cm Fm
Kara kedi gireceğine aramıza
G7 Cm
Seni şöyle alalım otur yakınımıza
Fm
Tüm gereksiz arızalar gitti gideli
G7 Cm
Günün en güzeli sen güzeliz iki deli
x2
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Melis Fis - Kara Kedi Tabs
NotesX
Harmony analysis
Melis Fis – Kara Kedi: key and chord analysis
The song opens on Cm and ends on Cm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
- #7 = B (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 C minor side because it both starts and finishes on Cm, Cm is heard 24 times while Eb never appears and the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 14× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V7/vi | G7 | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D · F | 14× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 24× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 24× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 14× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V7 | G7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D · F | 14× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | — |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 52 times in total; 2 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G7 is V7/vi, a secondary dominant heading for Cm.
Chord movement
- G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×14
- Fm G7 Ebii → V7/vi Cmiv → V7iv → V ×10
- Fm Cm Ebii → vi Cmiv → iminor plagal ×4
The move to watch is G7 → Cm, heard 14 times. From the Cm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V7/vi → vi (secondary resolution: G7 resolves a fourth up to Cm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over G7, land on G, B, D — the chord's own tones always sound right on strong beats.
- When G7 comes, swap the scale's Bb for B: 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Cm, Fm, G7; read them as vi–ii–V7/vi in Eb or i–iv–V7 in Cm. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on G7 → Cm (V7/vi → vi in Eb, V7 → i in Cm): harmonic-minor cadence — the major V resolves dramatically. It closes on Cm, letting the Cm 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.
Melis Fis - Kara 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: Serdar OrtaçMusic: Igor MatvienkoArrangement: Tarık İster
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