Edis - Bana Bir Masal Anlat Baba - Chord

Key Bb major – G minor Chords Gm, F, Ebmaj7, D7, Bb, Cm, Dm, B Easy key C

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Capo 0

Gm  F  Dm  Ebmaj7  Cm  D7  Gm

Gm
Bana bir masal anlat baba
F        Bb
İçinde bütün oyunlarım
Ebmaj7      D7      Gm        D7
Kurtla kuzu olsun şekerle bal

Gm
Baba bir masal anlat bana
F
İçinde denizle balıklar
Ebmaj7    D7       Gm
Yağmurla kar olsun güneşle ay

Gm  F  Dm  Ebmaj7  Cm  F  B

Bb      F
Anlatırken tut elimi
Cm        Ebmaj7
Uykuya dalıp gitsem bile
Bb         D7           Ebmaj7  F
Bırakıp gitme sakın beni

Bb      F
Anlatırken tut elimi
Cm        Ebmaj7
Uykuya dalıp gitsem bile
Bb         D7          Gm
Bırakıp gitme sakın beni

Gm
Bana bir masal anlat baba
F      Bb
İçinde tüm sevdiklerim
Ebmaj7  D7         Gm
İçinde  İstanbul olsun

End of song Play again?

Edis - Bana Bir Masal Anlat Baba Tabs

NotesX

Harmony analysis

Edis – Bana Bir Masal Anlat Baba: key and chord analysis

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

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (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 G minor side because it both starts and finishes on Gm, Gm is heard 10 times against 6 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	6×
bII	B	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	B · D# · F#	1×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	4×
iii	Dm	Mediant — a tonic-family shade	D · F · A	2×
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	7×
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	8×
V	F	Dominant — strongest pull home	F · A · C	9×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	10×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	10×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	6×
#III	B	Chromatic colour chordoutside the key	B · D# · F#	1×
iv	Cm	Subdominant — moves away from home	C · Eb · G	4×
v	Dm	Minor dominant — soft pull	D · F · A	2×
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	7×
VImaj7	Ebmaj7	Submediant — warm colour	Eb · G · Bb · D	8×
VII	F	Subtonic — steps back to the tonic	F · A · C	9×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 47 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm. B is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×6
F Bb BbV → Iauthentic cadence GmVII → III ×3
Ebmaj7 Bb BbIVmaj7 → Iplagal cadence GmVImaj7 → III ×2
Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×1
Cm F Bbii → Vii → V Gmiv → VII ×1
Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×1

The move to watch is D7 → Gm, heard 6 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to Gm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
On B, follow the chord's notes (B · D# · F#) rather than the key's scale — it's a borrowed colour.

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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. Gm, F, Ebmaj7, D7 carry the song: vi–V–IVmaj7–V7/vi relative to Bb, i–VII–VImaj7–V7 relative to Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Gm; the ear comes to rest in Gm.

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.