Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Devran İskender - Melek - Chord
Key G major – E minor Chords Bm7, C, Am7, Em, Bm Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm7 C Bm7 C
Beddua ediyorum seni benden alanlara
Em Bm7
Haram olsun nefes almak
Am7 Bm
Beni sensiz koyanlara
Bm7 C Bm7 C
Sen benim için hayatın anlamıydın
Em Bm7
Nasıl kıydılar sana
Am7 Bm
Beni neden almadılar
Bm7 C
Sen yıldızlardan düşen melek
Bm7
Zor günümde açan çiçek
Am7
Koynumdan çok uzaktasın
Em Bm7
Sen türkümsün hiç bitmeyecek
Am7
Dillerden hiç düşmeyecek
Bm
Her zaman yanımdasın
Bm7 C
Sen yıldızlardan düşen melek
Bm7
Zor günümde açan çiçek
Am7
Koynumdan çok uzaktasın
Em Bm7
Sen türkümsün hiç bitmeyecek
Am7
Dillerden hiç düşmeyecek
Bm
Her zaman yanımdasın
End of song Play again?
Devran İskender - Melek Tabs
NotesX
Harmony analysis
Devran İskender – Melek: key and chord analysis
The song opens on Bm7 and ends on Bm. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because Em is heard 4 times while G never appears. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 6× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 12× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 4× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 6× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 4× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 4× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 6× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 12× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 4× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 6× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 32 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Am7 Em Gii7 → vi Emiv7 → iminor plagal ×2
- C Em GIV → vi EmVI → iVI → i ×2
The move to watch is Am7 → Em, heard 2 times. From the Em side it is iv7 → i (minor plagal: deep and melancholic); from the G side it reads ii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Bm7; the ear learns where home is within a second. Bm7, C, Am7, Em carry the song: iii7–IV–ii7–vi relative to G, v7–VI–iv7–i relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Em (ii7 → vi in G, iv7 → i in Em): minor plagal — deep and melancholic. Ending on Bm, the song seals G 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.
Devran İskender - Melek 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: Ulaş AyMusic: Kadir DoğanArrangement: Kadir Doğan
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