Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Çağan Şengül - Anladım - Hande Mehan - Chord
Key Ab major – F minor Chords Cm, Eb, Fm, Db, Bbm, Dbmaj7 Easy key C
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Key: Ab | Fm
Capo: 0
Db Cm
Cm Db Eb Fm
Fm Cm Bbm Cm Dbmaj7 Eb Bbm Cm
Fm
Bir suçlu arıyordum
Eb
Meğer zamanmış oysa
Db
Çok geçti sanıyordum
Eb
Hep erkenmiş oysa
Fm
Büyüdüm hesaplaştım
Eb
Kendimden uzaklaştım
Db
Ezilip büzüldüm hep
Eb
Yüzünün karşısında
Fm Eb
Ah, geçmiyor ah
Db
Denedim unutmayı
Eb
Sensiz başarmayı
Fm
Hayat oyununda
Eb
Dinmiyor ah
Db
Ne bıraktığın acın
Cm
Ne şu mirasın sızın
Fm
Anladım çok yalnızım
Cm
Büyük kalabalıkta
Bbm
Yokluğun gönül sızım
Cm
Bu yük yanıbaşımda
Dbmaj7
Anladım çok yalnızım
Eb
Büyük kalabalıkta
Bbm
Yokluğun gönül sızım
Cm
Bu yük yanıbaşımda
Db Eb Bbm Cm
Fm Cm Bbm Cm Dbmaj7 Eb Bbm Cm
End of song Play again?
Çağan Şengül - Anladım - Hande Mehan Tabs
NotesX
Harmony analysis
Çağan Şengül – Anladım - Hande Mehan: key and chord analysis
The song opens on Db and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because Fm is heard 8 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 7× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 13× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 7× |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 3× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 12× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 8× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 8× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 7× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 13× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 7× |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 3× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 12× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 50 times in total; 6 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
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×5
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×4
- Dbmaj7 Eb AbIVmaj7 → VIV → V FmVImaj7 → VIIVI → VII ×3
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×3
The move to watch is Db → Eb, heard 5 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Db lays a solid floor for everything that follows. The backbone is Cm, Eb, Fm, Db — iii–V–vi–IV from the Ab side, v–VII–i–VI from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. Ending on Cm, the song seals Ab 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.
Çağan Şengül - Anladım - Hande Mehan 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: Çağan ŞengülMusic: Çağan ŞengülArrangement: Burak Bedirli
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