Melek Mosso - Sabahçı Kahvesi - Chord

Key D major – B minor Chords F#m7, Em7, A, Gmaj7, Bm7, D, C#dim, B7 Easy key C (capo 2)

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Capo 0

F#m7  C#dim  Bm7  A  D  C#dim

Bm7    F#m7  Em7  F#m7  Em7  D  Em7  F#m7
Gmaj7  F#m7  B7   Em7   D  Em7  F#m7

F#m7      Gmaj7    A        Em7       F#m7
Sevgilim, sevgilim bak yine şafak söküyor
          Gmaj7    A        Em7      F#m7
Sevgilim, sevgilim bak yine sabah oluyor

Bm7                F#m7
Şimdi sen kim bilir ne duygullardasın
A                 Em7     F#m7
Belki de en güzel uykulardasın

Bm7         F#m7
Sen rüyalar aleminde
Em7         F#m7
Yeni aşklar hevesinde
Gmaj7      F#m7  B7
Bense yine uykusuzum
Em7         D   Em7  F#m7
Bir sabahçı kahvesi  nde

F#m7      Gmaj7    A           Em7       F#m7
Sevgilim, sevgilim inan ki çok özledim seni
          Gmaj7    A           Em7       F#m7
Sevgilim, sevgilim inan ki çok özledim seni

Bm7               F#m7
Dışarıda hafiften yağmurun sesi
A               Em7       F#m7
Gözümde aşkımın hasret nöbeti

End of song Play again?

Melek Mosso - Sabahçı Kahvesi Tabs

NotesX

Harmony analysis

Melek Mosso – Sabahçı Kahvesi: key and chord analysis

The song opens on F#m7 and ends on F#m7. 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 B minor side because Bm is heard 5 times against 4 for D. 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	4×
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	14×
iii7	F#m7	Mediant — a tonic-family shade	F# · A · C# · E	20×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	6×
V	A	Dominant — strongest pull home	A · C# · E	7×
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	5×
V7/ii	B7	Secondary dominant V/ii — leads to Emsecondary dominant	B · D# · F# · A	2×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	2×

Seen from B minor
Degree	Chord	Role	Notes	In song
i7	Bm7	Tonic — home	B · D · F# · A	5×
V7/iv	B7	Secondary dominant V/iv — leads to Emsecondary dominant	B · D# · F# · A	2×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	2×
III	D	Relative major — the bright side	D · F# · A	4×
iv7	Em7	Subdominant — moves away from home	E · G · B · D	14×
v7	F#m7	Minor dominant — soft pull	F# · A · C# · E	20×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VImaj7	Gmaj7	Submediant — warm colour	G · B · D · F#	6×
VII	A	Subtonic — steps back to the tonic	A · C# · E	7×

Analysis

The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 60 times in total; 7 of them sit naturally inside the shared scale. B7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Gmaj7 A DIVmaj7 → VIV → V BmVImaj7 → VIIVI → VII ×4
F#m7 Bm7 Diii7 → vi7 Bmv7 → i7natural-minor cadence ×3
B7 Em7 DV7/ii → ii7secondary resolution BmV7/iv → iv7 ×2
A D DV → Iauthentic cadence BmVII → III ×1

The move to watch is Gmaj7 → A, heard 4 times. From the Bm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the D side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). 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 F#m7, land on F#, A, C# — 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 A, 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 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 opening F#m7 lays a solid floor for everything that follows. The backbone is F#m7, Em7, A, Gmaj7 — iii7–ii7–V–IVmaj7 from the D side, v7–iv7–VII–VImaj7 from the Bm side. B7 adds a moment of surprise: secondary dominant V/ii — leads to Em. Keep an ear on Gmaj7 → A (IVmaj7 → V in D, VImaj7 → VII in Bm): VI → VII — the rising step that heads for the tonic. It closes on F#m7, letting the D side have the last word.

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.