Simge - Prens ve Prenses - Chord

Key A major – F# minor Chords E, Bm, F#m, A, C#m Easy key C

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Capo 0

             A                  Bm
Her şeye rağmen, bugün de son buldu
              A               Bm
Sustu tüm sesler, güneşle kayboldu
           F#m             E
Tüm düşünceler, sahile vurdu
            Bm                 E
Ah neler neler, bir rüzgarlar uçtu

F#m
Yaz yaz bitmez ömrüm yetmez
E
Anlat şarkı anlat son kez
Bm
Bu masalda mutsuzlar var
E              C#m           
Yalnız kaldı prens ve prenses

F#m   E   Bm   E   C#m

End of song Play again?

Simge - Prens ve Prenses Tabs

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Harmony analysis

Simge – Prens ve Prenses: key and chord analysis

The song opens on A and ends on C#m. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (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 A major and F# minor because it opens on A and F#m is heard 3 times against 2 for A. 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 A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	2×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	5×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	2×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
V	E	Dominant — strongest pull home	E · G# · B	6×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	3×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	3×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	2×
iv	Bm	Subdominant — moves away from home	B · D · F#	5×
v	C#m	Minor dominant — soft pull	C# · E · G#	2×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	—
VII	E	Subtonic — steps back to the tonic	E · G# · B	6×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 18 times in total; 5 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

Bm E Aii → Vii → V F#miv → VII ×3
Bm F#m Aii → vi F#miv → iminor plagal ×1
E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×1
C#m F#m Aiii → vi F#mv → inatural-minor cadence ×1

The move to watch is Bm → E, heard 3 times. From the A side it reads ii → V (ii → V: the classic preparation of the dominant); from the F#m side it is iv → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The first chord is A; the ear learns where home is within a second. The backbone is E, Bm, F#m, A — V–ii–vi–I from the A side, VII–iv–i–III from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → E (ii → V in A, iv → VII in F#m): ii → V — the classic preparation of the dominant. The final chord is C#m; the ear comes to rest in A.

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.