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)
Anıl Bektaş - Bitti Hikayemiz - Chord
Key F major – D minor Chords Am, Bb, Dm, C Easy key G
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Key: F | Dm
Capo: 0
Dm Am C Bb
Am Bb Am
Elinden geldiği kadar, içinden gelseydi
Bb Dm
Sevip, sarıp beni çevreleseydin
Am
Neden gittin, bitti hikayemiz
Bb Am Dm
Bak şimdi, yüreğim yerle birr
Dm Am
Neden gittin, bitti hikayemiz
Bb Am
Bak şimdi, yüreğim yerle birr
Dm Am C Bb
Dm Bb
Söndürün yaralarımı beni öldürün
Dm Bb
Öyle gömün acılarımı üstüme dökün
Am Bb Am
Kalbinin içinde biraz ben olsaydım
Bb Dm
Belki de bu kadar kolay silip atamazdın
Am
Nasıl bittim, söndü güneşimiz
Bb Am Dm
Bak şimdi yüreğim yerle bir aah
Dm Am
Nasıl bittim, söndü güneşimiz
Bb Am
Bak şimdi yüreğim yerle bir
Dm Bb
Söndürün yaralarımı beni öldürün
Dm Bb
Öyle gömün acılarımı üstüme dökün
Dm Am C Bb
End of song Play again?
Anıl Bektaş - Bitti Hikayemiz Tabs
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Harmony analysis
Anıl Bektaş – Bitti Hikayemiz: key and chord analysis
The song opens on Dm and ends on Bb. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it opens on Dm and Dm is heard 13 times while F never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 15× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 15× |
| V | C | Dominant — strongest pull home | C · E · G | 3× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 13× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 13× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| v | Am | Minor dominant — soft pull | A · C · E | 15× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 15× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 3× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 46 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Bb Dm FIV → vi DmVI → iVI → i ×6
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×4
The move to watch is Bb → Dm, heard 6 times. From the Dm side it is VI → i (VI → i: falls a half step into home); from the F side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 Bb, land on Bb, D, F — 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.
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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. Am, Bb, Dm, C carry the song: iii–IV–vi–V relative to F, v–VI–i–VII relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Dm (IV → vi in F, VI → i in Dm): VI → i — falls a half step into home. It closes on Bb, letting the F side have the last word.
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.
Anıl Bektaş - Bitti Hikayemiz 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: Anıl Bektaş
İrem DönmezMusic: Anıl Bektaş
İrem Dönmez
İrem DönmezMusic: Anıl Bektaş
İrem Dönmez
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