Melek Mosso - Gölgen Yeter - Chord

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

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Capo 0

Gm     Dm     A     Dm

Dm                   Gm         
Bir gülücük uçur yüzünden
C                           F
Kıyılarıma vursun dalgalar gibi
   Bb            A
Gitmenin zamanı değil
                 Dm
Yerli yerinde sevme

Bb             A                   Dm                      
Bırakma beni, canımı kaçırma gözlerimden
Bb             A                  Dm
Çekip gitme gidersen peşimde hüzün ve keder

Gm              Dm               Am             Dm   D
Beni senden çıkarma, yanı başımda dur gölgen yeter    
Gm             Dm               Am             Dm  
Beni senden koparma, yanı başımda dur gölgen yeter

End of song Play again?

Melek Mosso - Gölgen Yeter Tabs

NotesX

Harmony analysis

Melek Mosso – Gölgen Yeter: key and chord analysis

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

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (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 G minor side because it opens on Gm, Gm is heard 4 times against 3 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	3×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
V/V	C	Secondary dominant V/V — leads to Fsecondary dominant	C · E · G	1×
iii	Dm	Mediant — a tonic-family shade	D · F · A	10×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	1×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	1×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	4×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
V/iii	A	Secondary dominant V/iii — leads to Dmsecondary dominant	A · C# · E	4×
vii	Am	Chromatic colour chordoutside the key	A · C · E	2×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	4×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
V/v	A	Secondary dominant V/v — leads to Dmsecondary dominant	A · C# · E	4×
ii	Am	Chromatic colour chordoutside the key	A · C · E	2×
III	Bb	Relative major — the bright side	Bb · D · F	3×
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
IV	C	Major IV — Dorian / melodic-minor colourmodal colour	C · E · G	1×
v	Dm	Minor dominant — soft pull	D · F · A	10×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	1×
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	1×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 26 times in total; 4 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm. A, C act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×2
F Bb BbV → Iauthentic cadence GmVII → III ×1
D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×1

The move to watch is Dm → Gm, heard 2 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, 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.
When D comes, swap the scale's F for F#: 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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The backbone is Dm, Gm, A, Bb — iii–vi–V/iii–I from the Bb side, v–i–V/v–III from the Gm side. A is the interesting twist: in Bb it is a chromatic chord (V/iii), while in Gm it becomes the dominant (V/v) that makes the minor side sound so determined. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. Ending on Dm, the song seals Bb 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.