Berkay Altunyay - Ben Ne Anladım Bu İşten - Chord

Key F major – D minor Chords Dm, Bb, A, Am, C, Gm, E Easy key C (capo 5)

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Capo 0

Dm                                 Am
Sarar mı başa, sor artakalan adına bir sigara yanar mı daha
       Bb
Gidene zor diyorlar
                    C
İnanmam o yükü tabi sırtlanamaz

Dm                                Am
Döner mi geri başım gibi ama buna katlanamam
                    Bb
Ta en derinine yine saplanacak
                     C
Zaman geçiyor da duruyorsa yaram

Bb                      A                 Dm
Ben ne anladım bu işten, içimde bir yan eksik
Bb                       A                 Dm
Sen ne anlarsın ki halden, beraber ölmeyeceğiz

Dm
Yangınlara koşuyorum bilirim çok zordur buna bir yorumum
         Bb          A
Yok inan ellerim boş gözlerim dolu dolu da
Gm                     E
Yağmurun sağanak benim kapüşonum yok

Bb                      A                 Dm
Ben ne anladım bu işten, içimde bir yan eksik
Bb                       A                 Dm
Sen ne anlarsın ki halden, beraber ölmeyeceğiz

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Berkay Altunyay - Ben Ne Anladım Bu İşten Tabs

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Harmony analysis

Berkay Altunyay – Ben Ne Anladım Bu İşten: key and chord analysis

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

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)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 D minor side because it both starts and finishes on Dm, Dm is heard 7 times while F never appears and the major V chord points straight at Dm. 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	1×
iii	Am	Mediant — a tonic-family shade	A · C · E	2×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	5×
IV	Bb	Subdominant — moves away from home	Bb · D · F	7×
V	C	Dominant — strongest pull home	C · E · G	2×
vi	Dm	Relative minor — the melancholy side	D · F · A	7×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
V/iii	E	Secondary dominant V/iii — leads to Amsecondary dominant	E · G# · B	1×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	7×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
V/v	E	Secondary dominant V/v — leads to Amsecondary dominant	E · G# · B	1×
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	1×
v	Am	Minor dominant — soft pull	A · C · E	2×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	5×
VI	Bb	Submediant — warm colour	Bb · D · F	7×
VII	C	Subtonic — steps back to the tonic	C · E · G	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 25 times in total; 5 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. E acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

A Dm FV/vi → vi DmV → iharmonic-minor cadence ×4
Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1

The move to watch is A → Dm, heard 4 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → 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 Dm, land on D, F, A — 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: 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 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

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. The chords that keep coming back are Dm, Bb, A, Am; read them as vi–IV–V/vi–iii in F or i–VI–V–v in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. It closes on Dm, letting the Dm 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.