Yaşar - Masal - Chord

Key C major – A minor Chords Am, E7, Dm Difficulty already in its easiest key

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Capo 0

Am                     Dm
Burkar içimi bir sızı içim boğulur
                   E7
Sanki peri padişahının kızı
     Dm               Am  E7       Am
Bu kadar naz sabır kalmaz etme ne olur
 
Am                         Dm
Sarkar içime bir hasret içimde durur
                  E7
Sanki anka kuşu musun mübarek
    Dm                      Am  E7        Am
Kavurup kasıp sırra kadem basıp gitme ne olur
 
Am                                        Dm
Masal bu ya oldu ya cezbime tutuldu ya kaçma
Am         E7                 Am
Böyle biri karşına kaç kere çıkar
 
Am                       E7
Geldi deli efkarın içimi sardı
                          Am
Gir sinemin sinemin içine yar
                             E7
Bak yaş oldun didemin ucunda varsın
                         Am
Ak sinemin sinemin içini sar
 
Am                   Dm
Bu hayal meyal masal hep okuduğum mu
     E7                      Am
Seni ejdarhanın elinden alıp koruduğum mu
     Dm                 Am
Hani kahramanlar gibi sevecekken seni
         E7                           Am
Masal bitti yaş akacak bak farketmedin mi
 
Am        E7       Am           E7       Am
Yalnız varsız demektir elsiz kolsuz demektir
Am       E7       Dm         E7          Am
Kalan yalnız kalırsa giden insafsız demektir
 
Am                       E7
Geldi deli efkarın içimi sardı
                          Am
Gir sinemin sinemin içine yar
                                   Dm
Sen bitmişsin kuşlar gider dostlar gitmiş
E7                  Dm  E7  Am
Bir varmışsın bir yok   muş sun

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Yaşar - Masal Tabs

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Harmony analysis

Yaşar – Masal: key and chord analysis

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

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because it both starts and finishes on Am, Am is heard 24 times while C never appears and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	10×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	16×
IV	F	Subdominant — moves away from home	F · A · C	—
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	24×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	24×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	10×
v	Em	Minor dominant — soft pull	E · G · B	—
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	16×
VI	F	Submediant — warm colour	F · A · C	—
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 50 times in total; 2 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am.

Chord movement

E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×12
Dm E7 Cii → V7/vi Amiv → V7iv → V ×6
Dm Am Cii → vi Amiv → iminor plagal ×4

The move to watch is E7 → Am, heard 12 times. From the Am side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V7/vi → vi (secondary resolution: E7 resolves a fourth up to Am). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over E7, 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 E7 comes, swap the scale's G for G#: 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm 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. The chords that keep coming back are Am, E7, Dm; read them as vi–V7/vi–ii in C or i–V7–iv in Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on E7 → Am (V7/vi → vi in C, V7 → i in Am): harmonic-minor cadence — the major V resolves dramatically. Ending on Am, the song seals Am 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.