Melek Mosso - Evleniyormuş - Hatice Mosso - Chord

Key E major – C# minor Chords C#m7, F#m7, G#m7, B, Amaj7, G#7, E Easy key C (capo 4)

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Capo 0

C#m7  G#7  F#m7  C#m7

C#m7                    B          C#m7
Hazan olur, yaprak döker ziyan olursun
F#m7                                C#m7
Genceciksin, körpeciksin bükme boynunu
E                        F#m7        C#m7
Bir sözüm var kara toprak anlar halimden
            B           F#m7   G#m7  C#m7
Büktüm boynumu ama yarim dönmedim senden

C#m7        F#m7     C#m7  B         F#m7
Ben ne dağım ne de duman    bak içime darma duman
Amaj7       G#m7      F#m7  G#m7   C#m7
Duydum elden haberini, evleniyormuş

C#m7      F#m7          C#m7        F#m7
Tanrım benim bahtım kara, yüz çevirme şu kuluna
Amaj7      G#m7       F#m7       G#m7
Serçe parmağında kına, evleniyormuş
C#m7    F#m7         C#m7      F#m7
Avaz avaz bağırsamda, isyan edip ağlasamda
Amaj7      G#m7       F#m7       G#m7
Serçe parmağında kına, evleniyormuş

C#m7  G#7  F#m7  C#m7

End of song Play again?

Melek Mosso - Evleniyormuş - Hatice Mosso Tabs

NotesX

Harmony analysis

Melek Mosso – Evleniyormuş - Hatice Mosso: key and chord analysis

The song opens on C#m7 and ends on C#m7. Its chords belong to both E major and C#m, so every chord below is read both ways.

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D# (leading tone, pulls home)
4 = A (the note that leans on the 3rd)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)
#7 = B# (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 C# minor side because it both starts and finishes on C#m, C#m is heard 16 times against 1 for E and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	1×
ii7	F#m7	Supertonic — prepares the dominant	F# · A · C# · E	14×
iii7	G#m7	Mediant — a tonic-family shade	G# · B · D# · F#	7×
V7/vi	G#7	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D# · F#	2×
IVmaj7	Amaj7	Subdominant — moves away from home	A · C# · E · G#	3×
V	B	Dominant — strongest pull home	B · D# · F#	3×
vi7	C#m7	Relative minor — the melancholy side	C# · E · G# · B	16×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i7	C#m7	Tonic — home	C# · E · G# · B	16×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	1×
iv7	F#m7	Subdominant — moves away from home	F# · A · C# · E	14×
v7	G#m7	Minor dominant — soft pull	G# · B · D# · F#	7×
V7	G#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D# · F#	2×
VImaj7	Amaj7	Submediant — warm colour	A · C# · E · G#	3×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	3×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 7 different chords appear 46 times in total; 6 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G#7 is V7/vi, a secondary dominant heading for C#m.

Chord movement

F#m7 C#m7 Eii7 → vi7 C#miv7 → i7minor plagal ×7
G#m7 C#m7 Eiii7 → vi7 C#mv7 → i7natural-minor cadence ×4
B C#m7 EV → vi7deceptive cadence C#mVII → i7Aeolian arrival ×1

The move to watch is F#m7 → C#m7, heard 7 times. From the C#m side it is iv7 → i7 (minor plagal: deep and melancholic); from the E side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over G#m7, land on G#, B, D# — the chord's own tones always sound right on strong beats.
When G#7 comes, swap the scale's B for B#: 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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

4 semitones down · capo 4 keeps the original pitch
3 semitones up

The song's harmonic story

The opening C#m7 lays a solid floor for everything that follows. C#m7, F#m7, G#m7, B carry the song: vi7–ii7–iii7–V relative to E, i7–iv7–v7–VII relative to C#m. G#7 is the interesting twist: in E it is a chromatic chord (V7/vi), while in C#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#m7 → C#m7 (ii7 → vi7 in E, iv7 → i7 in C#m): minor plagal — deep and melancholic. The final chord is C#m7; the ear comes to rest in C#m.

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.