Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Melek Mosso - Yalan (Aras) - Chord
Key F major – D minor Chords Dm, C, Bbmaj7, A7 Easy key G
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Key: F | Dm
Capo: 0
Dm Soğuk geliyor bana bütün düşündüren yazılar C Sanki bir düzen içinde kalan kırıntılar Bbmaj7 A7 Aşar benim boyum kadar hayallerim ve düşlerim var Dm Bu nasıl düzen nasıl hayat nasıl yaşantılar C Ağır gelir bana önümde duvar bu bulantılar Bbmaj7 A7 Koşar gibiyim beynimde bütün bu takıntılar var Dm Söyledikleri yalan yalan yalan yalan yalan C Düzen düzen kime kim ki düzen bozan kime yalan Bbmaj7 A7 Niye her kes koşar gibi uzaklaşır sorularımdan Dm Ezip geçer alıp gider alır C Elimde kalan bu son umudumu Bbmaj7 Kayıp gider kayıp gider A7 Uçur beni uçur toz gibi vücudumu Dm Bu son çaba biraz dayan C Bir nefes kadar daha bu kafestesin Bbmaj7 Tutun bana cevap benim A7 Bırak benliğim bir daha bulsun beni Dm Söyledikleri yalan yalan yalan yalan yalan C Düzen düzen kime kim ki düzen bozan kime yalan Bbmaj7 A7 Niye her kes koşar gibi uzaklaşır sorularımdan
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Melek Mosso - Yalan (Aras) Tabs
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Harmony analysis
Melek Mosso – Yalan (Aras): key and chord analysis
The song opens on Dm and ends on A7. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (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 D minor side because it opens on Dm, Dm is heard 6 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 6× |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 6× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 6× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 6× |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 6× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 6× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 24 times in total; 3 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm.
Chord movement
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×5
The move to watch is A7 → Dm, heard 5 times. From the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- When A7 comes, swap the scale's C for C#: 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, C, Bbmaj7, A7; read them as vi–V–IVmaj7–V7/vi in F or i–VII–VImaj7–V7 in Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A7 → Dm (V7/vi → vi in F, V7 → i in Dm): harmonic-minor cadence — the major V resolves dramatically. The final chord is A7; the ear comes to rest in F.
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.
Melek Mosso - Yalan (Aras) 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: Erdem Koriz
LeylaMusic: ArasArrangement: Selim Topsakal
LeylaMusic: ArasArrangement: Selim Topsakal
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