Murat Kekilli - Bir Masal Rüzgarı - Chord

Key Eb major – C minor Chords Gm, Ab, Bb, Cm, Fm, Eb, D, Db … Easy key G

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Capo 0

Gm  Cm  Bb  Gm  Cm  Bb
Eb   D  Db  C   Ab  Gm

Gm  Gm  Ab  Ab  Bb  Ab  Gm

Gm                   Ab       Gm
Bilmecede bilinmeyen sözlerimdin sen
                      Ab        Gm
Eskittiğim bu şehirde serabım oldun
Gm                   Ab       Gm
Bilmecede bilinmeyen sözlerimdin sen
                      Ab        Gm  Fm  Eb  D  Cm
Eskittiğim bu şehirde serabım oldun

Cm               Bb
Tanrıya yalvardığım dualarımdın
Ab        Fm      Bb   Ab    Gm
İşlediğim en büyük günahım oldun

Cm
Bir deli rüzgar esti alıp götürdü seni benden
Bb
Bir deli rüzgar esti alıp götürdü düşlerinden
Ab                                Gm
Bir deli rüzgar götürdü benim şehrimden

Gm  Gm  Ab  Ab  Bb  Ab  Gm

Gm                    Ab         Gm
Bak masallarımız bitti acılar sardık
                    Ab         Gm 
Çıkmaz bir sokaktaki rüyaya daldık
                      Ab        Gm
Bak masallarımız bitti acılar sardık
                    Ab         Gm  Fm  Eb  D  Cm
Çıkmaz bir sokaktaki rüyaya daldık

Cm               Bb
Umutlara söylediğim şarkılarımdın
Ab          Fm     Bb   Ab    Gm
Yüreğimdeki o çölde serabım oldun

Cm
Bir deli rüzgar esti alıp götürdü seni benden
Bb
Bir deli rüzgar esti alıp götürdü düşlerinden
Ab                                Gm
Bir deli rüzgar götürdü benim şehrimden

Gm  Gm  Ab  Ab  Bb  Ab  Gm

Belki bilmiyorsun ama
Bakışlarından öpüyorum seni
Belki anlamıyorsun ama
Yalnızlığından öpüyorum seni

End of song Play again?

Murat Kekilli - Bir Masal Rüzgarı Tabs

NotesX

Harmony analysis

Murat Kekilli – Bir Masal Rüzgarı: key and chord analysis

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

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because Cm is heard 8 times against 3 for Eb. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	3×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	27×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	24×
V	Bb	Dominant — strongest pull home	Bb · D · F	11×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	8×
V/ii	C	Secondary dominant V/ii — leads to Fmsecondary dominant	C · E · G	1×
bVII	Db	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Db · F · Ab	1×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	3×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	8×
V/iv	C	Secondary dominant V/iv — leads to Fmsecondary dominant	C · E · G	1×
bII	Db	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Db · F · Ab	1×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	3×
III	Eb	Relative major — the bright side	Eb · G · Bb	3×
iv	Fm	Subdominant — moves away from home	F · Ab · C	4×
v	Gm	Minor dominant — soft pull	G · Bb · D	27×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	24×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	11×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 9 different chords appear 82 times in total; 6 of them sit naturally inside the shared scale. D, C act as secondary dominants, briefly pointing at another chord of the key. Db is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×4
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×3
Fm Bb Ebii → Vii → V Cmiv → VII ×2
Bb Eb EbV → Iauthentic cadence CmVII → III ×1

The move to watch is Gm → Cm, heard 4 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — 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.
On Db, follow the chord's notes (Db · F · Ab) rather than the key's scale — it's a borrowed colour.

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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. Gm, Ab, Bb, Cm carry the song: iii–IV–V–vi relative to Eb, v–VI–VII–i relative to Cm. D adds a moment of surprise: secondary dominant V/iii — leads to Gm. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. It closes on Gm, letting the Eb 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.

Murat Kekilli - Bir Masal Rüzgarı 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: Mehmet Zor

Music: Halil Aydemir
Mehmet Zor

Arrangement: Ahmet Koç

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