Melek Mosso - Uğurlama - Chord

Key F major – D minor Chords Dm, Am, Bb, C, Gm, A7, A Easy key C (capo 5)

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Capo 0

Dm  C  Am  Bb  Bb  Am  Gm  A7  Dm

Dm                 C
Bu kente yanlızlık çöktüğü zaman
Am                Bb
Uykusunda bir kuş ölür ecelsiz
           Am  Gm
Alıpta başını  gitmek istersin
A7                Bb     A      Dm
Karanlık sokaklar kör, sağır, dilsiz 

Dm               C
Ey sevda kuşanıp yollara düşen
Am                Bb
Bilesin bu yollar dağlar dolanır
           Am  Gm
Yare ulaşmadan düşersen eğer
A7             Bb   A    Dm
Yarına sesinin yankısı kalır

Dm  C  Am  Bb  Bb  Am  Gm  A7  Dm

Dm              C
Gecenin ucundan gün aralanır
Am                Bb
Yar sevdası ile yürek bilenir
             Am  Gm
Sızılı bir ırmak uğurlar seni
A7              Bb    A    Dm
Su olup akarsın kır çiçeklenir

Dm               C
Ey sevda kuşanıp yollara düşen
Am                Bb
Bilesin bu yollar dağlar dolanır
           Am  Gm
Yare ulaşmadan düşersen eğer
A7             Bb   A    Dm
Yarına sesinin yankısı kalır

End of song Play again?

Melek Mosso - Uğurlama Tabs

NotesX

Harmony analysis

Melek Mosso – Uğurlama: key and chord analysis

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

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 D minor side because it both starts and finishes on Dm, Dm is heard 12 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	6×
iii	Am	Mediant — a tonic-family shade	A · C · E	12×
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	6×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	4×
IV	Bb	Subdominant — moves away from home	Bb · D · F	12×
V	C	Dominant — strongest pull home	C · E · G	6×
vi	Dm	Relative minor — the melancholy side	D · F · A	12×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	12×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	6×
v	Am	Minor dominant — soft pull	A · C · E	12×
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	6×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	4×
VI	Bb	Submediant — warm colour	Bb · D · F	12×
VII	C	Subtonic — steps back to the tonic	C · E · G	6×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 58 times in total; 5 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 / A is V7/vi, a secondary dominant heading for Dm.

Chord movement

Gm A7 Fii → V7/vi Dmiv → V7iv → V ×6
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×4
A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×2

The move to watch is Gm → A7, heard 6 times. From the Dm side it is iv → V7 (iv → V: the minor side's tension builder); from the F side it reads ii → V7/vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Dm, land on D, F, A — 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.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
When A7 comes, swap the scale's C for C#: 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. The backbone is Dm, Am, Bb, C — vi–iii–IV–V from the F side, i–v–VI–VII from the Dm side. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gm → A7 (ii → V7/vi in F, iv → V7 in Dm): iv → V — the minor side's tension builder. Ending on Dm, the song seals Dm 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.