Melek Mosso - Tükettim (S4hir) - Chord

Key D major – B minor Chords A, F#, G, Em, Bm, D Easy key C (capo 2)

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Capo 0

Bm  A  G  Em  F#

       Bm            A
Çok üzgünüm güvenini kırdım 
         G               Em     F#
Gülüşünü kestim, rezil ettim elaleme 
      Bm                A
Ben sorumluyum yaralı gururundan 
        G                   Em     F#
Kalbimdeki korkudan bakamıyorum yüzüne

  Em        A         D
Zaman akmaz ki tersine başa dönelim 
  Em           A             F#
Yapmasaydım keşke kırılsaydı ellerim

Bm                    A      
Geri dönemem tükettim tüm ihtimalleri
G                 F#
Özür dilesem affetmene yeter mi

  Em         A         F#
Kötü günüm çıkmazdayım iyice delirdim
 G                    F#
Sev beni de iyileşsin gönlüm senindir

Bm
Bi şeytan vardı içimde, perde indi gözüme
A
Önce sisleri sildi, ipler eline geçti 
G
Zalim bi kayıtsızdı bi hayli doyumsuzdu
F#
Ben bende değildim sen daha sevilecektin

Bm
Karanlık üstüme yıkıldı ,yıldızlar göğsüme çakıldı
A
Fırtınalara kapıldı ruhum, dikenli tellere takıldı huzurum
G
Güneşimi geri ver bana, gün yüzü görsün yine her taraf
F#
Bahçelerimdeki çiçekler açsın, etsin gururu sevgimin bertaraf

Bm
Kurtulamıyorum enkazdan, dünya bile bana dar geliyor
A
Ne olabilir daha en fazla, nefes almasam ne farkediyor
G
Sonum ol gel yaklaş bana, gidenler hep bambaşkalar
F#
Döner mi tersine zaman, geri dön çok uzaklaşmadan 

  Em        A         D
Zaman akmaz ki tersine başa dönelim 
  Em           A             F#
Yapmasaydım keşke kırılsaydı ellerim

Bm                    A      
Geri dönemem tükettim tüm ihtimalleri
G                 F#
Özür dilesem affetmene yeter mi

  Em         A         F#
Kötü günüm çıkmazdayım iyice delirdim
 G                    F#
Sev beni de iyileşsin gönlüm senindir

End of song Play again?

Melek Mosso - Tükettim (S4hir) Tabs

Melek Mosso
Sabi Saltiel
Velican Sagun

NotesX

Harmony analysis

Melek Mosso – Tükettim (S4hir): key and chord analysis

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

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)

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 opens on Bm, Bm is heard 8 times against 2 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	2×
ii	Em	Supertonic — prepares the dominant	E · G · B	9×
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#	14×
IV	G	Subdominant — moves away from home	G · B · D	10×
V	A	Dominant — strongest pull home	A · C# · E	14×
vi	Bm	Relative minor — the melancholy side	B · D · F#	8×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	8×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	2×
iv	Em	Subdominant — moves away from home	E · G · B	9×
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#	14×
VI	G	Submediant — warm colour	G · B · D	10×
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 57 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

F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×7
Em A Dii → Vii → V Bmiv → VII ×6
Em F# Dii → V/vi Bmiv → Viv → V ×3
A D DV → Iauthentic cadence BmVII → III ×2

The move to watch is F# → Bm, heard 7 times. From the Bm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V/vi → vi. 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over F#, land on F#, A#, C# — 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.
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

The first chord is Bm; the ear learns where home is within a second. The chords that keep coming back are A, F#, G, Em; read them as V–V/vi–IV–ii in D or VII–V–VI–iv 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 F# → Bm (V/vi → vi in D, V → i in Bm): harmonic-minor cadence — the major V resolves dramatically. The final chord is F#; the ear comes to rest in D.

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.