Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Melek Mosso - Bu İş Bitmiş - Chord
Key C major – A minor Chords Dm7, Em7, Fmaj7, Am7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em7
Olur sandım, dikiş tutar sandım
Dm7
Meğerse açıkmış yara
Em7
Kapatsaydım bu defteri kalırdı yarım
Dm7
Benden son çaba
Am7
Belalı bakışlarındaki o hırsız
Dm7
Çaldı yüreğimi ah apansız
Fmaj7 Em7
Keşke en baştan sevseydin yalansız
Em7
Olan olmuş bu iş bitmiş
Dm7 Fmaj7
Aşk dediğimiz yalandan mı ibaretmiş
Em7
Yaşlı gözler elbette özler
Dm7 Fmaj7
Severken ayrı ama gönüller hep beraber
Am7 Am7 Dm7 Fmaj7
Em7
Kapatsaydım bu defteri kalırdı yarım
Dm7
Benden son çaba
End of song Play again?
Melek Mosso - Bu İş Bitmiş Tabs
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Harmony analysis
Melek Mosso – Bu İş Bitmiş: key and chord analysis
The song opens on Em7 and ends on Dm7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because Am is heard 3 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 7× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 6× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 4× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 3× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 3× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 7× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 6× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 20 times in total; 4 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
- Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×1
- Fmaj7 Am7 CIVmaj7 → vi7 AmVImaj7 → i7VI → i ×1
The move to watch is Dm7 → Am7, heard once. From the Am side it is iv7 → i7 (minor plagal: deep and melancholic); from the C side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Fmaj7, land on F, A, C — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Em7, the song gives away its key from the very first bar. The chords that keep coming back are Dm7, Em7, Fmaj7, Am7; read them as ii7–iii7–IVmaj7–vi7 in C or iv7–v7–VImaj7–i7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Am7 (ii7 → vi7 in C, iv7 → i7 in Am): minor plagal — deep and melancholic. Ending on Dm7, the song seals C 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.
Melek Mosso - Bu İş Bitmiş 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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Arrangement: Genco Ari
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