Emre Aydın - Beni Biraz Böyle Hatırla - Chord

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

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Capo 0

Em                     Am
Dağılmış eşyalar dört bir yana
D                    Em
Sessizliğimiz uykusuzluktan değil
Em                Am
Toplasan iki kişi eder miyiz hala
C        D         Em
Beni biraz böyle hatırla

G                       D
Biliyorum birkaç kere açılmaz hiçbir bavul
Am         F         Em
Biliyorum çalışmaz saatler geri
G                        D
Bu ev, ev değil artık biliyorum çok üzgünüm
C            D         Em
Karşımdasın ama bak yoksun burada

C                         
Hatırla, kaybettiğin her şey gibi
Am              D          G     
Yabancı bir korkak belki böyle hatırla
Am                     Em
Sarılıp kendine sıkıca bu hayat benim değil de
D          C         Em
Beni biraz da böyle hatırla

End of song Play again?

Emre Aydın - Beni Biraz Böyle Hatırla Tabs

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Harmony analysis

Emre Aydın – Beni Biraz Böyle Hatırla: key and chord analysis

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

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it both starts and finishes on Em and Em is heard 8 times against 3 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	3×
ii	Am	Supertonic — prepares the dominant	A · C · E	5×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	4×
V	D	Dominant — strongest pull home	D · F# · A	7×
vi	Em	Relative minor — the melancholy side	E · G · B	8×
bVII	F	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F · A · C	1×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	8×
bII	F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C	1×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	3×
iv	Am	Subdominant — moves away from home	A · C · E	5×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	4×
VII	D	Subtonic — steps back to the tonic	D · F# · A	7×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 28 times in total; 5 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D Em GV → videceptive cadence EmVII → iAeolian arrival ×3
Am D Gii → Vii → V Emiv → VII ×2
C D GIV → VIV → V EmVI → VIIVI → VII ×2
D G GV → Iauthentic cadence EmVII → III ×1
Am Em Gii → vi Emiv → iminor plagal ×1
C Em GIV → vi EmVI → iVI → i ×1

The move to watch is D → Em, heard 3 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

The opening Em lays a solid floor for everything that follows. The chords that keep coming back are Em, D, Am, C; read them as vi–V–ii–IV in G or i–VII–iv–VI in Em. F briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. The final chord is Em; the ear comes to rest in Em.

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.