Ümit Besen - Tahta Masa - Chord

Key F major – D minor Chords Am, E, Dm, G, Em, A Difficulty already in its easiest key

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Capo 0

Am       G        Dm       E
Gidince anladım aşkın yalanmış
Am       G         Dm         E
Bu yalan kalbimi yaktı sevgilim

Am         G     Am           
Bir tahta masada adımız kalmış

Am       G       Dm         E
Görünce gözyaşım aktı sevgilim
        Dm        E       Am
Görünce gözyaşım aktı sevgilim 

Am                 G
Katlanırdım bil ki en derin yasa 
Em              Dm       E 
Kolunda yabancı biri olmasa

Dm        Am    A
Ayağı kırılmış o tahta masa
Am                    E      Am
Senden çok vefalı çıktı sevgilim

Am      G       Dm       E
O masa özlemle hep bizi anar
Am      G       Dm         E
İçinde binlerce anılar saklar 

Am        G      Am       
Sensiz gidemedim geçti haftalar

Am      G          Dm       E
Masamız artık boş kaldı sevgilim

Am      G         Dm        E
Masamız şimdi boş kaldı sevgilim
E       Dm        E       Am
Masamız şimdi boş kaldı sevgilim

End of song Play again?

Ümit Besen - Tahta Masa Tabs

NotesX

Harmony analysis

Ümit Besen – Tahta Masa: key and chord analysis

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

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 D minor side because Dm is heard 11 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
II	G	Chromatic colour chordoutside the key	G · B · D	10×
iii	Am	Mediant — a tonic-family shade	A · C · E	17×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	1×
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	11×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
V/iii	E	Secondary dominant V/iii — leads to Amsecondary dominant	E · G# · B	12×
vii	Em	Chromatic colour chordoutside the key	E · G · B	1×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	11×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
V/v	E	Secondary dominant V/v — leads to Amsecondary dominant	E · G# · B	12×
ii	Em	Chromatic colour chordoutside the key	E · G · B	1×
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
IV	G	Major IV — Dorian / melodic-minor colourmodal colour	G · B · D	10×
v	Am	Minor dominant — soft pull	A · C · E	17×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	1×
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 52 times in total; 2 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. E acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

Improvisation tips

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

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. Am, E, Dm, G carry the song: iii–V/iii–vi–II relative to F, v–V/v–i–IV relative to Dm. E is the interesting twist: in F it is a chromatic chord (V/iii), while in Dm it becomes the dominant (V/v) that makes the minor side sound so determined. Ending on Am, the song seals F 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.