Melek Mosso - Aşkın Adı - Chord

Key C major – A minor Chords Em7, Dm7, Fmaj7, Am7 Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Em7          Dm7
Sevda güneşi batarken
Em7              Dm7
Büyür hasretinin gölgesi
Em7              Dm7
Tüm ayrılıklar erken ama
                       Fmaj7
Yoktur böylesi, yoktur böylesi

Am7            Dm7
Sol yanı boş yatağın bak öylece
Fmaj7                Em7
Hayalinle yetindim çoğu gece
Am7                   Dm7
Fotoğrafların sanki zehir ömrüme
Fmaj7              Em7
Baka baka hayatımı bitirdim

      Fmaj7
Şimdi aşkın adı ıstırap
                      Em7
Seni affetmek günah bana, ah bana
      Dm7
Kimdi bu yangında çok yanan
                      Em7
Gitme diye yalvaran sana, ah sana

Fmaj7  Em7  Dm7  Em7

Am7            Dm7
Sol yanı boş yatağın bak öylece
Fmaj7                Em7
Hayalinle yetindim çoğu gece
Am7                   Dm7
Fotoğrafların sanki zehir ömrüme
Fmaj7              Em7
Baka baka hayatımı bitirdim

      Fmaj7
Şimdi aşkın adı ıstırap
                      Em7
Seni affetmek günah bana, ah bana
      Dm7
Kimdi bu yangında çok yanan
                      Em7
Gitme diye yalvaran sana, ah sana

End of song Play again?

Melek Mosso - Aşkın Adı Tabs

NotesX

Harmony analysis

Melek Mosso – Aşkın Adı: key and chord analysis

The song opens on Em7 and ends on Em7. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

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 4 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	10×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	13×
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	8×
V	G	Dominant — strongest pull home	G · B · D	—
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	4×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i7	Am7	Tonic — home	A · C · E · G	4×
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	10×
v7	Em7	Minor dominant — soft pull	E · G · B · D	13×
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	8×
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 35 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

Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×3
Fmaj7 Am7 CIVmaj7 → vi7 AmVImaj7 → i7VI → i ×1

The move to watch is Em7 → Am7, heard 3 times. From the Am side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Dm7, land on D, F, A — 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

The opening Em7 lays a solid floor for everything that follows. Em7, Dm7, Fmaj7, Am7 carry the song: iii7–ii7–IVmaj7–vi7 relative to C, v7–iv7–VImaj7–i7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am7 (iii7 → vi7 in C, v7 → i7 in Am): natural-minor cadence — gentle, modal arrival. It closes on Em7, letting the C 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.