Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Halil Sezai - Yalnız Masal (Melis Kar) - Chord
Key Gb major – Eb minor Chords Ebm, Bbm, Db, Abm, B, F#, Bb Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm
Sen görmedin bilmedin sevmedin
Db
Şimdi bana anlatma dinlemem
F# Abm
Yok istemem masallarını
Ebm Bbm
Uyandım ben
Ebm
Bilirim senden başka şey beklenmez
Db
Sen sadece anları seversin
F# Abm
Ne yarın ne dün umrumda
Ebm Bbm
Biri varsa koynunda
Ebm Bbm
Yanlış baştan sona yanlış
Abm Bb
İkimiz de ölene dek yalnız
Ebm Db
Ben bir hayat kurdum
B Bbm
İçinde sen yoksun
Abm Bbm
Zaten nerden baksan
B Db
Sen bir kalbe çoksun
Ebm Db
Sen bir hayat kurdun
B Bbm
Sevgiden aşktan yoksun
Abm Bbm
Zaten nerden baksan
B Db Ebm
Bugün varsın yarın yoksun
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Halil Sezai - Yalnız Masal (Melis Kar) Tabs
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Harmony analysis
Halil Sezai – Yalnız Masal (Melis Kar): key and chord analysis
The song opens on Ebm and ends on Ebm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (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 Eb minor side because it both starts and finishes on Ebm, Ebm is heard 8 times against 2 for Gb and the major V chord points straight at Ebm. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 | F# | Tonic — home | F# · A# · C# | 2× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 5× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 7× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | 1× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 4× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 6× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 8× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 8× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | F# | Relative major — the bright side | F# · A# · C# | 2× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 5× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 7× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | 1× |
| VI | B | Submediant — warm colour | B · D# · F# | 4× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 6× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 33 times in total; 6 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb is V/vi, a secondary dominant heading for Ebm.
Chord movement
- Db F# GbV → Iauthentic cadence EbmVII → III ×2
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×2
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×2
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×2
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×2
- Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×1
The move to watch is Db → F#, heard 2 times. From the Ebm side it is VII → III; from the Gb side it reads V → I (authentic cadence: the strongest arrival home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- When Bb comes, swap the scale's Db 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening Ebm lays a solid floor for everything that follows. Ebm, Bbm, Db, Abm carry the song: vi–iii–V–ii relative to Gb, i–v–VII–iv relative to Ebm. Bb is the interesting twist: in Gb it is a chromatic chord (V/vi), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Db → F# (V → I in Gb, VII → III in Ebm): authentic cadence — the strongest arrival home. The final chord is Ebm; the ear comes to rest in Ebm.
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.
Halil Sezai - Yalnız Masal (Melis Kar) 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: Timur AratMusic: Timur Arat
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