Melek Mosso - Keklik Gibi - Chord

Key C major – A minor Chords Am, G, C, Dm, D, F, Em Easy key G (capo 5)

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Capo 0

Am                         G
Keklik gibi kanadımı süzmedim
Am                    D
Murad alıp doya doya gezmedim
Am                     C    G
Bu kara yazıyı kendim yazmadım

C                    Dm    G
Alnıma yazılmış bu kara yazı
Dm           Am   G   F
Kader böyle imiş ağlarım bazı
Dm      Em  C  F  G  Am
Gönül ey ey ey seebeebim ey

Am                       G
Geceleri uyku girmez gözüme
Am                       D
Zalim yastık diken oldu yüzüme
Am                      C
Uyma dedim uydun eller sözüne

End of song Play again?

Melek Mosso - Keklik Gibi Tabs

NotesX

Harmony analysis

Melek Mosso – Keklik Gibi: key and chord analysis

The song opens on Am 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: we can't honestly pick a side here — the song moves freely between C major and A minor because it comes to rest on C, it opens on Am and Am is heard 8 times against 4 for C. Try reading the chords both ways and see which feels more like home to you.

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	4×
ii	Dm	Supertonic — prepares the dominant	D · F · A	3×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	2×
iii	Em	Mediant — a tonic-family shade	E · G · B	1×
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	6×
vi	Am	Relative minor — the melancholy side	A · C · E	8×
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	8×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	4×
iv	Dm	Subdominant — moves away from home	D · F · A	3×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	2×
v	Em	Minor dominant — soft pull	E · G · B	1×
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	6×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 26 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

G Am CV → videceptive cadence AmVII → iAeolian arrival ×3
G C CV → Iauthentic cadence AmVII → III ×1
Dm Am Cii → vi Amiv → iminor plagal ×1
Dm G Cii → Vii → V Amiv → VII ×1
F G CIV → VIV → V AmVI → VIIVI → VII ×1

The move to watch is G → Am, heard 3 times. From the C side it reads V → vi (deceptive cadence: expected C, lands on Am); from the Am side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 Am, land on A, C, E — 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 C, land on C, E, G — 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

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. The backbone is Am, G, C, Dm — vi–V–I–ii from the C side, i–VII–III–iv from the Am side. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on G → Am (V → vi in C, VII → i in Am): deceptive cadence — expected C, lands on Am. Ending on C, the song seals C 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.