Haluk Levent - Zülüf (Melek Mosso) - Chord

Key D major – B minor Chords E, F, Dm, D, G, A, Am, C … Difficulty already in its easiest key

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Capo 0

Şarkı nakarata geldiğinde ton C|Am oluyor.

A          D         A
Zülüf dökülmüş yüze aman
D           Am    G   F
Kaşlar yakışmış göze aman aman
Dm C  Bm  E  Am   G    F
Usaaandım bu canımdan aman aman
E           F   Dm  E 
Derdimden geze geeeeze

D  E

Dm C  Bm  E  Am   G    F
Usaaandım bu canımdan aman aman
E           F   Dm  E 
Derdimden geze geeeeze

A          D          A
Bu ellerde gez gayri aman
D            Am    G    F
Katip ol da yaz gayri aman aman 
Dm    C Bm  E   Am    G    F
Bir kaaazma al, bir kürek aman aman
E       F    Dm  E
Mezarımı kaz gayyrı

D  E

Dm    C Bm  E   A     G    F
Bir kaaazma al, bir kürek aman aman
E       F    Dm  E
Mezarımı kaz gayyrı

End of song Play again?

Haluk Levent - Zülüf (Melek Mosso) Tabs

NotesX

Harmony analysis

Haluk Levent – Zülüf (Melek Mosso): key and chord analysis

The song opens on A and ends on E. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D major side because D is heard 6 times against 4 for Bm. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

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	6×
i	Dm	Chromatic colour chordoutside the key	D · F · A	8×
ii	Em	Supertonic — prepares the dominant	E · G · B	—
V/V	E	Secondary dominant V/V — leads to Asecondary dominant	E · G# · B	14×
bIII	F	Borrowed from the parallel minorborrowed chord	F · A · C	10×
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#	—
IV	G	Subdominant — moves away from home	G · B · D	6×
V	A	Dominant — strongest pull home	A · C# · E	5×
v	Am	Chromatic colour chordoutside the key	A · C · E	5×
vi	Bm	Relative minor — the melancholy side	B · D · F#	4×
bVII	C	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C · E · G	4×
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#	4×
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	4×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	6×
iii	Dm	Chromatic colour chordoutside the key	D · F · A	8×
iv	Em	Subdominant — moves away from home	E · G · B	—
IV	E	Major IV — Dorian / melodic-minor colourmodal colour	E · G# · B	14×
#IV	F	Chromatic colour chordoutside the key	F · A · C	10×
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#	—
VI	G	Submediant — warm colour	G · B · D	6×
VII	A	Subtonic — steps back to the tonic	A · C# · E	5×
vii	Am	Chromatic colour chordoutside the key	A · C · E	5×

Analysis

The key pair is D major and its relative B minor (2 sharps). 9 different chords appear 62 times in total; 4 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key. F, C are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

A D DV → Iauthentic cadence BmVII → III ×4

The move to watch is A → D, heard 4 times. From the D side it reads V → I (authentic cadence: the strongest arrival home); from the Bm side it is VII → III. 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 E, land on E, G#, B — 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
On F, follow the chord's notes (F · A · C) 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 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The opening A lays a solid floor for everything that follows. The chords that keep coming back are E, F, Dm, D; read them as V/V–bIII–i–I in D or IV–#IV–iii–III in Bm. E adds a moment of surprise: secondary dominant V/V — leads to A. Keep an ear on A → D (V → I in D, VII → III in Bm): authentic cadence — the strongest arrival home. The final chord is E; 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.