Yalın - Meleklerin Sözü Var - Chord

Key C major – A minor Chords C, G, Am, Dm, Em, F Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

C                                    
Dünya üzemez beni                    
Am                                
Ölüm korkutabilir mi                  
Dm                G         C         
Sen olmadan bu kalp hissedebilir mi      

C
Güneş batmış bana ne
Am
Ellerin yok kime ne 
        Dm              G           C
Yerine koyamadım, razı olamadım sensizliğe

Dm               C         Am
Kalpler yanmış yağmur ıslatmış
Dm         G               
Tanrı korumuş ya sevenleri

C                    Em              
Son nefesimde elimi sen tutacaksın 
Am                 Em                  
Son sözlerimi bir sen duyacaksın    
F        G     C
Meleklerin sözü var                
F        G      C                    
Meleklerin sözü var

End of song Play again?

Yalın - Meleklerin Sözü Var Tabs

NotesX

Harmony analysis

Yalın – Meleklerin Sözü Var: key and chord analysis

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

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C major side because it both starts and finishes on C and C is heard 8 times against 4 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	8×
ii	Dm	Supertonic — prepares the dominant	D · F · A	4×
iii	Em	Mediant — a tonic-family shade	E · G · B	2×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	2×
V	G	Dominant — strongest pull home	G · B · D	5×
vi	Am	Relative minor — the melancholy side	A · C · E	4×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	4×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	8×
iv	Dm	Subdominant — moves away from home	D · F · A	4×
v	Em	Minor dominant — soft pull	E · G · B	2×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	5×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 25 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

G C CV → Iauthentic cadence AmVII → III ×5
Dm G Cii → Vii → V Amiv → VII ×3
F G CIV → VIV → V AmVI → VIIVI → VII ×2
Em Am Ciii → vi Amv → inatural-minor cadence ×1

The move to watch is G → C, heard 5 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over C, land on C, E, G — 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.
Over Am, land on A, C, E — 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

Starting on C, the song gives away its key from the very first bar. The chords that keep coming back are C, G, Am, Dm; read them as I–V–vi–ii in C or III–VII–i–iv in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. It closes on C, letting the C side have the last word.

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.