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 Durmuş - Acıyor Kalbim - Ahmet Hatipoğlu - Chord
Key F major – D minor Chords Am7, Bbmaj7, Gm7 Easy key C (capo 5)
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Bbmaj7 Am7
Kalabilir misin yapayalnız o evde
Gm7 Am7
Unutabilir mi bu beden tenin ezberimde
Bbmaj7 Am7
Sevebilir misin yeniden bir başkasını
Gm7 Am7
Dokunabilir mi elin harbi başka ele
Bbmaj7
Acıyor kalbim
Am7
Kalmadı katlanacak halim
Gm7
Gülüşümü geri ver bari
Am7
Aklıma kazılısın her daim
Bbmaj7
Yanıyor yani
Am7
Yarama da tuz bastın zalim
Gm7
Gülemez mi bana hiç talih
Am7
Ölüyorum ah dünya fani
Bbmaj7 Am7 Gm7 Am7
x2
Bbmaj7
Acıyor kalbim
Am7
Kalmadı katlanacak halim
Gm7
Gülüşümü geri ver bari
Am7
Aklıma kazılısın her daim
Bbmaj7
Yanıyor yani
Am7
Yarama da tuz bastın zalim
Gm7
Gülemez mi bana hiç talih
Am7
Ölüyorum ah dünya fani
End of song Play again?
Anıl Durmuş - Acıyor Kalbim - Ahmet Hatipoğlu Tabs
NotesX
Harmony analysis
Anıl Durmuş – Acıyor Kalbim - Ahmet Hatipoğlu: key and chord analysis
The song opens on Bbmaj7 and ends on Am7. 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: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 7× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 14× |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 7× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 7× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 14× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 7× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 3 different chords appear 28 times in total; 3 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Gm7, land on G, Bb, D — 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Bbmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Am7, Bbmaj7, Gm7; read them as iii7–IVmaj7–ii7 in F or v7–VImaj7–iv7 in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Am7, the song seals F 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.
Anıl Durmuş - Acıyor Kalbim - Ahmet Hatipoğlu 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Ahmet HatipoğluMusic: Ahmet Hatipoğlu
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.