Rubato - Kalbim Ege'de Kaldı (Melek Mosso) - Chord

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

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Capo 0

Am              B        C
Cigaramı sardım karşı sahile
B       C     Am
Yaktım ucuna acıları
             B      C
Ağları attım anılar coştu
B        C       Am
Ağlar hasretimin kıyıları

B      C        B       C
Yareme tuz diye yakamoz bastım
         E    Am
Tek şahidim aydı
C      Em
Aman aman 

B          C
Bir elimde defne
B          C
Bir elimde sevdan
       E        Am
Kalbim egede kaldı

Am               B       C
Kadehimi vurdum karşı yakaya
B      C       Am
Efeler kalktı şerefe
             B      C
Yarimi attım anılar coştu
B        C      Am
Bir ağıt yaktım kadere

B      C        B       C
Yareme tuz diye yakamoz bastım
         E    Am
Tek şahidim aydı
 C     Em
Aman aman

B          C
Bir elimde defne
B          C
Bir elimde sevdan
       E        Am
Kalbim egede kaldı

Am
Aman efendim
         Em
Ayrılık ölümden beter
       Am
Canım efendim
       Em          Am
Yeter bu hasretlik yeter

     Am
Aman efendim
       Em
Bana bir merhaba gönder
     F#
Canım efendim

End of song Play again?

Rubato - Kalbim Ege'de Kaldı (Melek Mosso) Tabs

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Harmony analysis

Rubato – Kalbim Ege'de Kaldı (Melek Mosso): key and chord analysis

The song opens on Am and ends on F#. 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 5 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#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	16×
IV	C	Subdominant — moves away from home	C · E · G	18×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	5×
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	4×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V/iii	F#	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C#	1×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	5×
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	4×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V/v	F#	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C#	1×
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#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	16×
VI	C	Submediant — warm colour	C · E · G	18×
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). 6 different chords appear 58 times in total; 3 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 B is V/vi, a secondary dominant heading for Em. E, F# act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

Am B Gii → V/vi Emiv → Viv → V ×6
Am Em Gii → vi Emiv → iminor plagal ×3
C Em GIV → vi EmVI → iVI → i ×2

The move to watch is Am → B, heard 6 times. From the Em side it is iv → V (iv → V: the minor side's tension builder); from the G side it reads ii → V/vi. 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — 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.
When B 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 Am, the song gives away its key from the very first bar. The chords that keep coming back are C, B, Am, Em; read them as IV–V/vi–ii–vi in G or VI–V–iv–i in Em. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Am → B (ii → V/vi in G, iv → V in Em): iv → V — the minor side's tension builder. It closes on F#, letting the G 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.