Sufle - Melek - Chord

Key Bb major – G minor Chords F, Eb, Bb, Gm, G Easy key G (capo 3)

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Capo 0

Gm                Bb
Artık bakma yüzüme 
             F
Konuşma bitti 
        Eb
Ve sözün yok 

Gm                 Bb
Aşksa gitti bak işte 
                F
Yalanlara kurban 
        Eb
Ve özrün yok
 
Gm
Sana yetse 
Bb
Kalbim mutluluk olurdu 
F                 Eb
Aşkın sonundaki varışın 

    Gm
Yarı yolda 
      Bb
Döndün ihanetinle 
      F              Eb
Onunlaymış senin yarışın
 
     Gm
Bulamazsın 
       Bb
Dokunamazsın 
       F                  Eb
Bendeki sana yabancı bir yürek

      Gm
Meleğindim 
         Bb
Kanadımı kırdın 
        F
Uçmuyor artık 
        Eb
Aşkınla o Melek

       F
Ne yapsan da 
     Eb
Olamazsın 
     G      Bb
Yüzüme bakma 
         F             Eb
Bir yabancıyım tanımazsın

End of song Play again?

Sufle - Melek Tabs

NotesX

Harmony analysis

Sufle – Melek: key and chord analysis

The song opens on Gm and ends on Eb. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between Bb major and G minor because it opens on Gm and Bb is heard 7 times against 6 for Gm. Try reading the chords both ways and see which feels more like home to you.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	7×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	8×
V	F	Dominant — strongest pull home	F · A · C	8×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	6×
VI	G	Chromatic colour chordoutside the key	G · B · D	1×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	6×
I	G	Chromatic colour chordoutside the key	G · B · D	1×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	7×
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	8×
VII	F	Subtonic — steps back to the tonic	F · A · C	8×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 30 times in total; 4 of them sit naturally inside the shared scale. G step outside the scale as colour chords.

Chord movement

Eb Gm BbIV → vi GmVI → iVI → i ×5
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×1

The move to watch is Eb → Gm, heard 5 times. From the Bb side it reads IV → vi; from the Gm side it is VI → i (VI → i: falls a half step into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. F, Eb, Bb, Gm carry the song: V–IV–I–vi relative to Bb, VII–VI–III–i relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. The final chord is Eb; the ear comes to rest in Bb.

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.