Hadise - Bana Masal Anlatma - Chord

Key Eb major – C minor Chords Cm7, Abmaj7, Fm7, Gm7, Gm, G7 Easy key C (capo 3)

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Capo 0

Cm7  Abmaj7  Fm7  Gm7

             Cm7                           Abmaj7
Karar vermek zor, hangisi iyi, hangisi yanlış
                                   Fm7
Bu nasıl bi son, kalsın istemem alkış
                        Gm
Silse de kalıcak izleri, izledik biz o tüm filmleri

           Cm7
Bana masal anlatma, bana masal anlatma
               Abmaj7
Konuşurlar hep hakkımda

Sıradan bişey tut aklında

           Fm7
Bana masal anlatma, bana masal anlatma
                Gm7
Kalmadı bi gram hatrında

Hikaye tozlu kitaplığımda

  Cm7
Zaman geçer hiç acıtmaz
  Abmaj7
Kapım çalar sen olsan ya
      Fm7
Ya da boş ver oh
        G7
Yine de yerin dolmadı of
 
  Cm7
O zamanlar gençtik, hep ateş ettik
   Abmaj7
Sessizce geçtik, onca yol aldık
   Fm7
Ya çıkaramam seni oh
         Gm7
Aklımdan çıkaramam seni oh
 
             Cm7                           Abmaj7
Karar vermek zor, hangisi iyi, hangisi yanlış
                                   Fm7
Bu nasıl bi son, kalsın istemem alkış
                        Gm
Silse de kalıcak izleri, izledik biz o tüm filmleri

           Cm7
Bana masal anlatma, bana masal anlatma
               Abmaj7
Konuşurlar hep hakkımda

Sıradan bişey tut aklında

           Fm7
Bana masal anlatma, bana masal anlatma
                Gm7
Kalmadı bi gram hatrında

Hikaye tozlu kitaplığımda

End of song Play again?

Hadise - Bana Masal Anlatma Tabs

NotesX

Harmony analysis

Hadise – Bana Masal Anlatma: key and chord analysis

The song opens on Cm7 and ends on Gm7. 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)
#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 opens on Cm, Cm is heard 7 times while Eb never appears and the major V chord points straight at Cm. 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	—
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	7×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	2×
V7/vi	G7	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D · F	1×
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	7×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	7×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i7	Cm7	Tonic — home	C · Eb · G · Bb	7×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	7×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	4×
v	Gm	Minor dominant — soft pull	G · Bb · D	2×
V7	G7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D · F	1×
VImaj7	Abmaj7	Submediant — warm colour	Ab · C · Eb · G	7×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 28 times in total; 5 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G7 is V7/vi, a secondary dominant heading for Cm.

Chord movement

Gm7 Cm7 Ebiii7 → vi7 Cmv7 → i7natural-minor cadence ×3
Gm Cm7 Ebiii → vi7 Cmv → i7natural-minor cadence ×2
G7 Cm7 EbV7/vi → vi7secondary resolution CmV7 → i7harmonic-minor cadence ×1
Fm7 G7 Ebii7 → V7/vi Cmiv7 → V7iv → V ×1

The move to watch is Gm7 → Cm7, heard 3 times. From the Cm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii7 → vi7. 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Abmaj7, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
When G7 comes, swap the scale's Bb 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 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

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

The song's harmonic story

The opening Cm7 lays a solid floor for everything that follows. The chords that keep coming back are Cm7, Abmaj7, Fm7, Gm7; read them as vi7–IVmaj7–ii7–iii7 in Eb or i7–VImaj7–iv7–v7 in Cm. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gm7 → Cm7 (iii7 → vi7 in Eb, v7 → i7 in Cm): natural-minor cadence — gentle, modal arrival. It closes on Gm7, 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.