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)
Çağan Şengül - Bitti Masal (Suzan Hacıgarip) - Chord
Key Bb major – G minor Chords Gm, F, Dm, Eb Easy key C
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Key: Bb | Gm
Capo: 0
Gm F
Uzun zamandır uyumadım kollarına al beni
Dm Eb
Bu duvarları duyuyorum yokluğun yıkar evi
Gm F
Artık dönmeyeceksin haberi yok eşyaların
Dm Eb
Asılı hırkanın yanında gülümser fotoğrafın
Gm F
Ellerim boş uyandığım sabahlar üzer beni
Dm Eb
Yankılanır yalnızlığım duvarlar dinler beni
Gm F
Adımlarım uzaklaşır evimden sayıyorum
Dm Eb
Asılı kaldı hırkam orada şimdi de üşüyorum
Gm F
Dur, hani rüyaydı her şey
Dm
Çok ihtiyacım var buna
Eb
Uyanınca geçse keşke
Gm F
Hangi masal mutlu bitti
Dm
Seni bir kaderden aldım
Eb
Başkasına teslim ettim
Gm F Dm
Uyan rüya dediğin benim gerçeğim
Eb Gm
İstesem de söyleyemem varmıyor dilim
F Dm
Mutsuz biten masalın en kuytu yerinde
Eb Gm
Terk ettiğin yerdeyim yetişmiyor elin
End of song Play again?
Çağan Şengül - Bitti Masal (Suzan Hacıgarip) Tabs
NotesX
Harmony analysis
Çağan Şengül – Bitti Masal (Suzan Hacıgarip): key and chord analysis
The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
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: to us the song feels closer to the G minor side because it both starts and finishes on Gm and Gm is heard 9 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 8× |
| 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 | 9× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 9× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| v | Dm | Minor dominant — soft pull | D · F · A | 8× |
| 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). 4 different chords appear 33 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Eb Gm BbIV → vi GmVI → iVI → i ×8
The move to watch is Eb → Gm, heard 8 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → vi. 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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.
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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. The backbone is Gm, F, Dm, Eb — vi–V–iii–IV from the Bb side, i–VII–v–VI from the Gm side. 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. Ending on Gm, the song seals Gm as home.
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.
Çağan Şengül - Bitti Masal (Suzan Hacıgarip) 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: Çağan Şengül, Suzan HacigaripMusic: Çağan ŞengülArrangement: Burak Bedirli
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