Duman - Melek - Chord

Key G major – E minor Chords C, F#, Em Difficulty already in its easiest key

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Capo 0

C       F#           Em
Kendisi bir garip melek
C      F#          Em
Ardına düşmeniz gerek

C        F#          Em
Öyle bir an gelir melek
C       F#          Em
Farkına varmanız gerek
C        F#          Em
Öyle bir an gider melek
C       F#          Em
Farkına varmanız gerek

C     F#   Em
Aldırmazsan aldırma
            C      F#     Em
Ama kendini, kandırman gerek
C     F#    Em
Kandırmazsan kandırma
             C     F#     Em
O zaman sana, anlatmam gerek

C       F#           Em
Kendisi bir garip melek
C      F#          Em
Ardına düşmeniz gerek

End of song Play again?

Duman - Melek Tabs

Arkadaşlar F# akorlarının basıldığı kısımların tam uyumu için tab kısmını da incelemenizi öneririz. Tablardaki gibi arpej şeklinde denerseniz ya da ritimleriniz arasına küçük arpejler sıkıştırırsanız tam bir uyum yakalayabilirsiniz. Giriş ve ara söz bölümleri C F# Em E------|----|-----| B------|----|-----| G---0--|--0-|--0--| D------|----|--2--| A--3---|----|-----| E------|-2--|-0---| Nakarat C F# E--0--|------0---|--0--| B--1--|-------3--|--0--| G--0--|--------0-|--0--| D--2--|----------|--2--| A--3--|----4-----|--2--| E-----|--2-------|--0--|

NotesX

Harmony analysis

Duman – Melek: key and chord analysis

The song opens on C and ends on Em. Its chords belong to both G major and Em, so every chord below is read both ways.

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)

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 E minor side because it comes to rest on Em and Em is heard 12 times while G never appears. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	12×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	12×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
VII	F#	Chromatic colour chordoutside the key	F# · A# · C#	12×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	12×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
II	F#	Chromatic colour chordoutside the key	F# · A# · C#	12×
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	12×
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). 3 different chords appear 36 times in total; 2 of them sit naturally inside the shared scale. F# step outside the scale as colour chords.

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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
Over Em, 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 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is C; the ear learns where home is within a second. The backbone is C, F#, Em — IV–VII–vi from the G side, VI–II–i from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Em, the song seals Em 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.