Mor ve Ötesi - Melekler Ölmez - Chord

Key G major – E minor Chords Am, D, C, B7, Em, B Easy key C (capo 7)

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Capo 0

C          Am    B7       Em
Yüzüme bir bak korkudan eser var mı
C        Am    B7        Em
Şarkımı dinle durduruyor zamanı
Am           D    Am        D   B
Soluyor renkler bitiyor düşler

Em          B7          C
Eriyor içim eriyor geri gelmezden önce
Am            D   Am         D  B
Yansa da her yer ölmez melekler

C           Am   B7       Em
Bir nefes oldum mazlumun türküsünde
C         Am   B7        Em
İnadım sağlam sözüm bitmiyor ki işte
Am           D    Am       D   B      
Soluyor yüzler bitmiyor düşler

Em          B7          C
Eriyor içim eriyor geri gelmezden önce
Am            D   Am         D  B
Yansa da her yer ölmez melekler

Am        D    Am         D  B
Duysun çöller ölmez melekler

End of song Play again?

Mor ve Ötesi - Melekler Ölmez Tabs

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Harmony analysis

Mor ve Ötesi – Melekler Ölmez: key and chord analysis

The song opens on C and ends on B. 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 6 times while G never appears 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	—
ii	Am	Supertonic — prepares the dominant	A · C · E	14×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	6×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	5×
IV	C	Subdominant — moves away from home	C · E · G	6×
V	D	Dominant — strongest pull home	D · F# · A	10×
vi	Em	Relative minor — the melancholy side	E · G · B	6×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	6×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	14×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	6×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	5×
VI	C	Submediant — warm colour	C · E · G	6×
VII	D	Subtonic — steps back to the tonic	D · F# · A	10×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 47 times in total; 4 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; seen from G, the same B7 / B is V7/vi, a secondary dominant heading for Em.

Chord movement

Am D Gii → Vii → V Emiv → VII ×10
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×4
Am B7 Gii → V7/vi Emiv → V7iv → V ×4
B Em GV/vi → vi EmV → iharmonic-minor cadence ×2

The move to watch is Am → D, heard 10 times. From the Em side it is iv → VII; from the G side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Am, land on A, C, E — 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
When B7 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 C, the song gives away its key from the very first bar. Am, D, C, B7 carry the song: ii–V–IV–V7/vi relative to G, iv–VII–VI–V7 relative to Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. Ending on B, 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.