Blok3 - Mosmor Perde - Chord

Key F major – D minor Chords Gm, Dm, A Easy key C (capo 5)

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Capo 0

Dm  Gm  Gm  A
x2

Biz sen'le sevgiliyiz
Sen de ki "Bu perde mor"
Ben diyorum ki "Ulan, mosmor perde"

Dm      Gm
 Artık işine bak bence
                 A         Dm
Sana siyah artık mosmor perde
         Gm
Bu çocuk gözünü açtı, güzelim
          A
Dünyaları önüme sersen de

Dm  Gm  Gm  A
(Tüm şarkı boyunca aynı akor döngüsü devam eder)

Artık işine bak bence
Sana siyah artık mosmor perde
Bu çocuk gözünü açtı, güzelim
Dünyaları önüme sersen de
Bi' anlamı yok, bi' anlamı yok
Bi' anlamı yok, keyifteyim
Bi' anlamı yok, bi' anlamı yok
Bi' anlamın yok, diy'im dedim
Artık işine bak bence
Sana siyah artık mosmor perde
Bu çocuk gözünü açtı, güzelim
Dünyaları önüme sersen dе

Bi' anlamı yok, bi' anlamı yok
Bi' anlamı yok, keyifteyim
Bi' anlamı yok, bi' anlamı yok
Bi' anlamın yok, diy'im dedim

Gеne durduk yere gözlerin falan da dolmasın
Yolun açık olsun, yeter ki benimle olmasın
Benim yaşattıklarımı sana kimse yaşatamaz
Sende farkındasın, bu yüzden bu durumdasın
Her gün partideyim, or'da, bur'da fink atıyorum
Sağda solda beni soruyo'sun, hep duyuyorum
Önceden ben kurardım, şimdiyse seni kuruyorum
Bensiz hayatında başarılar diliyorum
Geçti artık o iş, bana baksana bi', hâlim hatrım müthiş
Güzelim, bu da senden son vazgeçiş
Bu şarkıda bana yakışan bir bitiş
(Geçti artık o iş, bana baksana bi', hâlim hatrım müthiş)
(Güzelim, bu da senden son vazgeçiş)
(Bu şarkıda bana yakışan bir bitiş)
(Hadi, eyvallah)

Artık işine bak bence
Sana siyah artık mosmor perde
Bu çocuk gözünü açtı, güzelim
Dünyaları önüme sersen de
Bi' anlamı yok, bi' anlamı yok
Bi' anlamı yok, keyifteyim
Bi' anlamı yok, bi' anlamı yok
Bi' anlamın yok, diy'im dedim
Artık işine bak bence
Sana siyah artık mosmor perde
Bu çocuk gözünü açtı, güzelim
Dünyaları önüme sersen de

End of song Play again?

Blok3 - Mosmor Perde Tabs

NotesX

Harmony analysis

Blok3 – Mosmor Perde: key and chord analysis

The song opens on Dm and ends on A. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 D minor side because it opens on Dm, Dm is heard 4 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	6×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	4×
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	4×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	4×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	6×
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	4×
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 3 different chords appear 14 times in total; 2 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm.

Chord movement

Gm A Fii → V/vi Dmiv → Viv → V ×4
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×3

The move to watch is Gm → A, heard 4 times. From the Dm side it is iv → V (iv → V: the minor side's tension builder); from the F side it reads ii → V/vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Gm, land on G, Bb, D — 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.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. Gm, Dm, A carry the song: ii–vi–V/vi relative to F, iv–i–V relative to Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gm → A (ii → V/vi in F, iv → V in Dm): iv → V — the minor side's tension builder. The final chord is A; the ear comes to rest in F.

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.