Melek Mosso - Hiç Işık Yok (No.1) - Chord

Key D major – B minor Chords F#, D, G Easy key C (capo 2)

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Capo 0

F#
Sana sorsam uzağım kendimden,
F#           G                  F#
Başımı alıp giderim, her savaştan
F#
Beni uzak tut yaralı kalbinden
F#                     G            F#
Kanatır, kırarım, üzerim, tek bakışta

F#                     D
Hiç ışık yok farkındayım
D             G                 F#
Beni bugün ayık, beni bugün ayılt
F#                  D
Hey, Sen dalgın kadın
D             G                F#
Beni bugün ayık, bana biraz sarıl
F#                        D
İçine düşmüş karanlıkların
D              G               F#
Bu serseri mayın, beni bugün ayık
F#                     D
Arıyorum ama artık kayıp
D             G                 F#
Bu okyanustayım, benim batan kayık

End of song Play again?

Melek Mosso - Hiç Işık Yok (No.1) Tabs

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Harmony analysis

Melek Mosso – Hiç Işık Yok (No.1): key and chord analysis

The song opens on F# and ends on F#. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)
#7 = A# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between D major and B minor because D is heard 8 times while Bm never appears and the major V chord points straight at Bm. 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 D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	8×
ii	Em	Supertonic — prepares the dominant	E · G · B	—
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
III	F#	Chromatic colour chordoutside the key	F# · A# · C#	14×
IV	G	Subdominant — moves away from home	G · B · D	6×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	—
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	—
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	8×
iv	Em	Subdominant — moves away from home	E · G · B	—
v	F#m	Minor dominant — soft pull	F# · A · C#	—
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	14×
VI	G	Submediant — warm colour	G · B · D	6×
VII	A	Subtonic — steps back to the tonic	A · C# · E	—

Analysis

The key pair is D major and its relative B minor (2 sharps). 3 different chords appear 28 times in total; 2 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull.

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

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

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is F#; the ear learns where home is within a second. The chords that keep coming back are F#, D, G; read them as III–I–IV in D or V–III–VI in Bm. F# is the interesting twist: in D it is a chromatic chord (III), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Ending on F#, the song seals D 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.