Model - Bir Melek Vardı - Chord

Key G major – E minor Chords D, Em, Bm, C, E, Bsus2, C#dim, G … Easy key C (capo 7)

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Capo 0

Bm              Bsus2           Em
Bir melek vardı,  aşkı fısıldardı
           D             C#dim      C
Elimde o büyülü ellerin hayali kaldı
Bm            Bsus2        Em
Uyku imkansız, umut vicdansız
              D            C#dim     C
Güneş bile dedi ki kendine doğmak anlamsız

Em         D        G          D
Ağladım delice, elimde boş bi şişe
Em           D              Am     Bm    C
Kutladım bu gece sarılmanı, başka kollara
Em            D         G          D
Yapayalnız biçare, ölüyorsam kime ne
Em           D         Am     Bm    C
Benzedim bu gece, yine boş sokaklara

Bm              Bsus2           Em
Bir melek vardı,  aşkı fısıldardı
           D             C#dim      C
Elimde o büyülü ellerin hayali kaldı
Bm            Bsus2        Em
Uyku imkansız, umut vicdansız
              D            C#dim     C
Güneş bile dedi ki kendine doğmak anlamsız

Em         D        G          D
Ağladım delice, elimde boş bi şişe
Em           D              Am     Bm    C
Kutladım bu gece sarılmanı, başka kollara
Em            D         G          D
Yapayalnız biçare, ölüyorsam kime ne
Em           D         Am     Bm    C
Benzedim bu gece, yine boş sokaklara

F#m          E    A             E
Ağladım delice, elimde boş bi şişe
F#m           E              Bm    C#m   D
Kutladım bu gece sarılmanı, başka kollara
F#m             E      A        E
Yapayalnız biçare, ölüyorsam kime ne
F#m           E         Bm    C#m   D
Benzedim bu gece, yine boş sokaklara

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Model - Bir Melek Vardı Tabs

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Harmony analysis

Model – Bir Melek Vardı: key and chord analysis

The song opens on Bm and ends on D. 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)
#7 = D# (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 E minor side because Em is heard 12 times against 4 for G and the major V chord points straight at Em. 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	4×
ii	Am	Supertonic — prepares the dominant	A · C · E	4×
V/V	A	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E	2×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	10×
IIIsus2	Bsus2	Mediant — a tonic-family shade	B · C# · F#	4×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	8×
vii°/V	C#dim	Secondary leading-tone chord vii°/V — leads to Dsecondary dominant	C# · E · G	4×
#iv	C#m	Chromatic colour chordoutside the key	C# · E · G#	2×
V	D	Dominant — strongest pull home	D · F# · A	18×
vi	Em	Relative minor — the melancholy side	E · G · B	12×
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	6×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
vii	F#m	Chromatic colour chordoutside the key	F# · A · C#	4×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	12×
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	6×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
ii	F#m	Chromatic colour chordoutside the key	F# · A · C#	4×
III	G	Relative major — the bright side	G · B · D	4×
iv	Am	Subdominant — moves away from home	A · C · E	4×
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	2×
v	Bm	Minor dominant — soft pull	B · D · F#	10×
Vsus2	Bsus2	Minor dominant — soft pull	B · C# · F#	4×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	8×
vii°/VII	C#dim	Secondary leading-tone chord vii°/VII — leads to Dsecondary dominant	C# · E · G	4×
#vi	C#m	Chromatic colour chordoutside the key	C# · E · G#	2×
VII	D	Subtonic — steps back to the tonic	D · F# · A	18×

Analysis

The key pair is G major and its relative E minor (1 sharp). 12 different chords appear 78 times in total; 7 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull. E, C#dim, A act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

D G GV → Iauthentic cadence EmVII → III ×4
D Em GV → videceptive cadence EmVII → iAeolian arrival ×4
C Em GIV → vi EmVI → iVI → i ×4

The move to watch is D → G, heard 4 times. From the Em side it is VII → III; from the G side it reads V → I (authentic cadence: the strongest arrival home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

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 D, land on D, F#, A — 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.
Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
When Bsus2 comes, swap the scale's D for D#: 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 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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on Bm, the song gives away its key from the very first bar. The backbone is D, Em, Bm, C — V–vi–iii–IV from the G side, VII–i–v–VI from the Em side. E is the interesting twist: in G it is a chromatic chord (V/ii), while in Em it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on D → G (V → I in G, VII → III in Em): authentic cadence — the strongest arrival home. Ending on D, the song seals G 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.