Melek Mosso - Yar - Chord

Key A major – F# minor Chords C#m7, Bm7, F#m, G, Dmaj7, Bm, D, G#dim … Easy key C

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Capo 0

F#m                 Bm
Farkında değilmiş gibi durma
G                  F#m
Aldırmasanda ağlıyorum
D                 G#dim   Bm
Toy sevdalım ömre zarar yanın
G                 F#m
Tabessüm et yüzüm gülsün

F#m                Bm7
Nem varsa uğruna hazır, köle
E      Amaj7  Dmaj7   Bm7
Ayıplansa,     yadırdansa
G      F#m
İçim razı

G                        F#m
Sensizlikten çok iyidir ölüm

         C#m7
Yar, yar yaşlanıyor bedenim
               Dmaj7
Yan yıkıl gece dağıl güneş ayy
      Bm7
İpi çekildi gençliğin zaman dar yar
            C#m7  Bm7          C#m7
Kapını sonsuza  değin kapama yüzüme

Ne olur

C#m7  Bm7  C#m7
Yar,  yar  ellerin illede yar
               Dmaj7
Yan yıkıl gece dağıl güneş ayy
        Bm7
Acemisin yar eller ağlatır kal, kal
            C#m7  Bm7          C#m7
Kapını sonsuza  değin kapama yüzüme

Ne olur

C#m7  Bm7  C#m7  C#m7  Dmaj7  Bm7  C#m7  Bm7  C#m7

End of song Play again?

Melek Mosso - Yar Tabs

NotesX

Harmony analysis

Melek Mosso – Yar: key and chord analysis

The song opens on F#m and ends on C#m7. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

7 = G# (leading tone, pulls home)
4 = D (the note that leans on the 3rd)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F# minor side because it opens on F#m and F#m is heard 6 times against 1 for A. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
Imaj7	Amaj7	Tonic — home	A · C# · E · G#	1×
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	10×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	2×
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	12×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	4×
IV	D	Subdominant — moves away from home	D · F# · A	1×
V	E	Dominant — strongest pull home	E · G# · B	1×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	6×
bVII	G	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	G · B · D	4×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	1×

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	6×
bII	G	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	G · B · D	4×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	1×
IIImaj7	Amaj7	Relative major — the bright side	A · C# · E · G#	1×
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	10×
iv	Bm	Subdominant — moves away from home	B · D · F#	2×
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	12×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	4×
VI	D	Submediant — warm colour	D · F# · A	1×
VII	E	Subtonic — steps back to the tonic	E · G# · B	1×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 10 different chords appear 42 times in total; 9 of them sit naturally inside the shared scale. G is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

E Amaj7 AV → Imaj7authentic cadence F#mVII → IIImaj7 ×1
Bm7 E Aii7 → Vii → V F#miv7 → VII ×1

The move to watch is E → Amaj7, heard once. From the F#m side it is VII → IIImaj7; from the A side it reads V → Imaj7 (authentic cadence: the strongest arrival home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
On G, follow the chord's notes (G · B · D) rather than the key's scale — it's a borrowed colour.

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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The opening F#m lays a solid floor for everything that follows. C#m7, Bm7, F#m, G carry the song: iii7–ii7–vi–bVII relative to A, v7–iv7–i–bII relative to F#m. G briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on E → Amaj7 (V → Imaj7 in A, VII → IIImaj7 in F#m): authentic cadence — the strongest arrival home. Ending on C#m7, the song seals A 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.