Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Melek Mosso - Canım Acıyor - Chord
Key A major – F# minor Chords Bm, C#, F#m, D, C#7, F#, Dmaj7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
C# Bm C# D
C# F#m
Canım acıyor biter mi bu sancı?
Bm C#
Özlemedim desem yalan olur
F#m
Sonu başı yok ismin bende yalancı
Bm C#
Viraneyim helalim haram olur
F#m
Kaç kere kırdın vurdun
C#
Yüreğime yangın düşürdün
D Bm C#
Kor alevde yanarken sensiz üşürdüm
C# D F#m Bm
Kollarında ölsem ağlayacak kimim var?
C# D F#m Bm
Gül yüzünü göster anlatacaklarım var
F#m
Zehir ziyan kalbim ateşte
Dmaj7
Dön deseydim o an keşke
Bm F# Bm
Gitmeseydin ah ölür müydün?
C#7
Uyandım sabah saat 5’te
D
İki gözüm iki çeşme
Bm C#7
Gitmeseydin ah ölür müydün?
F#m Dmaj7 Bm F# Bm C# F# Bm C#7
C# D F#m Bm
Kollarında ölsem ağlayacak kimim var?
C# D F#m Bm
Gül yüzünü göster anlatacaklarım var
F#m
Zehir ziyan kalbim ateşte
Dmaj7
Dön deseydim o an keşke
Bm F# Bm
Gitmeseydin ah ölür müydün?
C#7
Uyandım sabah saat 5’te
D
İki gözüm iki çeşme
Bm C#7
Gitmeseydin ah ölür müydün?
End of song Play again?
Melek Mosso - Canım Acıyor Tabs
NotesX
Harmony analysis
Melek Mosso – Canım Acıyor: key and chord analysis
The song opens on C# and ends on C#7. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
- #7 = E# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because F#m is heard 10 times while A never appears and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 17× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | 12× |
| V7/vi | C#7 | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# · B | 5× |
| IV | D | Subdominant — moves away from home | D · F# · A | 8× |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 3× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 10× |
| V/ii | F# | Secondary dominant V/ii — leads to Bmsecondary dominant | F# · A# · C# | 4× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 10× |
| V/iv | F# | Secondary dominant V/iv — leads to Bmsecondary dominant | F# · A# · C# | 4× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 17× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | 12× |
| V7 | C#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# · B | 5× |
| VI | D | Submediant — warm colour | D · F# · A | 8× |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 3× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 59 times in total; 4 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C# / C#7 is V/vi, a secondary dominant heading for F#m. F# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bm C# Aii → V/vi F#miv → Viv → V ×7
- Bm C#7 Aii → V7/vi F#miv → V7iv → V ×5
- D F#m AIV → vi F#mVI → iVI → i ×4
- C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×3
- Bm F#m Aii → vi F#miv → iminor plagal ×2
- C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×1
The move to watch is Bm → C#, heard 7 times. From the F#m side it is iv → V (iv → V: the minor side's tension builder); from the A side it reads ii → V/vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over Bm, 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- When C# comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening C# lays a solid floor for everything that follows. Bm, C#, F#m, D carry the song: ii–V/vi–vi–IV relative to A, iv–V–i–VI relative to F#m. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bm → C# (ii → V/vi in A, iv → V in F#m): iv → V — the minor side's tension builder. It closes on C#7, letting the A 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.
Melek Mosso - Canım Acıyor 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: Bilal SonsesMusic: Bilal SonsesArrangement: Gürsel Çelik
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