Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Melek Mosso - Umrumda Değil - Chord
Key D major – B minor Chords G, A, Bm, F#, D, Em Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm G F# G A G A Bm
Bm G
İnsaf bu kadar eziyet, kim çeker
Em
Her lafı her sözü ayrı keder
F# Bm F#
Özrü kabahatinden de beter
Bm G Em F# Bm F#
Sor boş duvarlara, boş kollarına neden bu elveda
Bm G Em F# Bm A
Sev ister mutlu ol istersen delir, umrumda değil
Bm G F#
Kapıma dayanma sakın yakarım inan yakarım
G A
Rezil olur ele güne aldırmadan hiç kimseye
G A Bm
Yaka paça seni atarım
D A G A
Didindim ah yola gelir mi diye yıllarca
D A G A
Canımdan bezdim ağzını her açtığında
D A G A
Bakınca maziye hak ettim bunu galiba
D A G F#
Gözün aydın ben de delirdim bak en sonunda
Bm G F#
Kapıma dayanma sakın yakarım inan yakarım
G A
Rezil olur ele güne aldırmadan hiç kimseye
G A Bm
Yaka paça seni atarım
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Melek Mosso - Umrumda Değil Tabs
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Harmony analysis
Melek Mosso – Umrumda Değil: key and chord analysis
The song opens on Bm and ends on Bm. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
- #7 = A# (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 B minor side because it both starts and finishes on Bm, Bm is heard 12 times against 4 for D and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | 4× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 3× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 9× |
| IV | G | Subdominant — moves away from home | G · B · D | 16× |
| V | A | Dominant — strongest pull home | A · C# · E | 14× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 12× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 12× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 4× |
| iv | Em | Subdominant — moves away from home | E · G · B | 3× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 9× |
| VI | G | Submediant — warm colour | G · B · D | 16× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 14× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 58 times in total; 5 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# is V/vi, a secondary dominant heading for Bm.
Chord movement
- G A DIV → VIV → V BmVI → VIIVI → VII ×9
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×6
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×4
- A D DV → Iauthentic cadence BmVII → III ×3
- Em F# Dii → V/vi Bmiv → Viv → V ×3
The move to watch is G → A, heard 9 times. From the Bm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the D side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — 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 F# comes, swap the scale's A for A#: 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 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 chords that keep coming back are G, A, Bm, F#; read them as IV–V–vi–V/vi in D or VI–VII–i–V in Bm. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → A (IV → V in D, VI → VII in Bm): VI → VII — the rising step that heads for the tonic. Ending on Bm, the song seals Bm 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.
Melek Mosso - Umrumda Değil Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Mete ÖzgencilMusic: Gökhan Kırdar
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