Yeni Türkü - Maskeli Balo - Chord

Key G major – E minor Chords Em, B7, Am, E, G Easy key C (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

        Em              B7    E                   Am
Yaredir sinede eski sevgili, eski sevgili eski günler
                           B7
Hayata baksana takmıyor kimseyi
                Am            B7             Em
Hiçbir sey diriltmez artık geçmişi, yaredir yine de

G                   Am
Yaktım gemilerimi, dönüş yok artık geri
     Em     Am      Em   B7   Em
Tak etti canıma bu maskeli balo
Am          Em           B7       Em
Bu maskeli balo ve onun sahte yüzleri
Am          Em           B7       Em
Bu maskeli balo ve onun sahte yüzleri

         Em              B7   E                  Am
Yaredir sinede eski sevgili, ne yapsan kolay unutulmaz
                         B7
Ağlama geçmişe yaşadık bitti 
          Am           B7               Em
Anılar bizi yalnız bırakmaz, yalnızız yine de

End of song Play again?

Yeni Türkü - Maskeli Balo Tabs

NotesX

Harmony analysis

Yeni Türkü – Maskeli Balo: key and chord analysis

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

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)
#7 = D# (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 E minor side because it both starts and finishes on Em, Em is heard 11 times against 1 for G and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	1×
ii	Am	Supertonic — prepares the dominant	A · C · E	8×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	9×
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	11×
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	2×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	11×
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	2×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	1×
iv	Am	Subdominant — moves away from home	A · C · E	8×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	9×
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 31 times in total; 3 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em. E acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×5
Am Em Gii → vi Emiv → iminor plagal ×4
Am B7 Gii → V7/vi Emiv → V7iv → V ×4
B7 E GV7/vi → V/iisecondary resolution EmV7 → V/iv ×2

The move to watch is B7 → Em, heard 5 times. From the Em side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi (secondary resolution: B7 resolves a fourth up to Em). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over B7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
When B7 comes, swap the scale's D for D#: 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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Em lays a solid floor for everything that follows. The backbone is Em, B7, Am, E — vi–V7/vi–ii–V/ii from the G side, i–V7–iv–V/iv from the Em side. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on B7 → Em (V7/vi → vi in G, V7 → i in Em): harmonic-minor cadence — the major V resolves dramatically. It closes on Em, letting the Em 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.