Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Ahmet Hatipoğlu - Anla Beni Anla - Chord
Key Db major – Bb minor Chords Fm7, Ebm7, Bbm7, Bbm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm7 Fm7 Ebm7 Ebm7 Fm7
Bbm7 Fm7
Geri ver, aldığın beni bana geri ver
Ebm7
Seni her gördüğümdeki beni
Fm7 Bbm7
Geri ver kelimeler, kifayetsiz
Fm7 Ebm7
Yeniden, seneler geçmeden bana
Fm7
Geri gel (geri gel)
Bbm7
Yokluğunun acısı her sabahımda
Fm7
Vurur göğse geçmez ağla ağla
Ebm7
Bir çiçektim soldum baharımda
Fm7
Anla beni anla
Bbm7
Korktuğum başıma geldi bi’ anda
Fm7
Dönmedi dilimde ağla ağla
Ebm7
Sözlerin dizili hep boğazımda
Fm7
Anla beni anla
Bbm7 Fm7 Ebm7 Ebm7 Fm7
Bbm7 Fm7
Boğulmuşsun dertlerin içinde
Ebm7
Ama yok gibi çare
Fm7
Silinmez bi’ duygu bu
Bbm
Sen teslim ol üzülme
Fm7
Dolmaz ki bilirim
Ebm7
Boşluğun içimde
Fm7
Öyle bi’ yerdesin
Bbm7
Kalbimin en güzel yerinde
Bbm7
Yokluğunun acısı her sabahımda
Fm7
Vurur göğse geçmez ağla ağla
Ebm7
Bir çiçektim soldum baharımda
Fm7
Anla beni anla
Bbm7
Korktuğum başıma geldi bi’ anda
Fm7
Dönmedi dilimde ağla ağla
Ebm7
Sözlerin dizili hep boğazımda
Fm7
Anla beni anla
End of song Play again?
Ahmet Hatipoğlu - Anla Beni Anla Tabs
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Harmony analysis
Ahmet Hatipoğlu – Anla Beni Anla: key and chord analysis
The song opens on Bbm7 and ends on Fm7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 11 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii7 | Ebm7 | Supertonic — prepares the dominant | Eb · Gb · Bb · Db | 12× |
| iii7 | Fm7 | Mediant — a tonic-family shade | F · Ab · C · Eb | 20× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi7 | Bbm7 | Relative minor — the melancholy side | Bb · Db · F · Ab | 10× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 1× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bbm7 | Tonic — home | Bb · Db · F · Ab | 10× |
| i | Bbm | Tonic — home | Bb · Db · F | 1× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv7 | Ebm7 | Subdominant — moves away from home | Eb · Gb · Bb · Db | 12× |
| v7 | Fm7 | Minor dominant — soft pull | F · Ab · C · Eb | 20× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 43 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
- Fm7 Bbm7 Dbiii7 → vi7 Bbmv7 → i7natural-minor cadence ×8
- Fm7 Bbm Dbiii7 → vi Bbmv7 → inatural-minor cadence ×1
The move to watch is Fm7 → Bbm7, heard 8 times. From the Bbm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Bbm7, land on Bb, Db, F — 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is Bbm7; the ear learns where home is within a second. The backbone is Fm7, Ebm7, Bbm7, Bbm — iii7–ii7–vi7–vi from the Db side, v7–iv7–i7–i from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm7 → Bbm7 (iii7 → vi7 in Db, v7 → i7 in Bbm): natural-minor cadence — gentle, modal arrival. The final chord is Fm7; the ear comes to rest in Db.
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.
Ahmet Hatipoğlu - Anla Beni Anla 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: Ahmet HatipoğluMusic: Ahmet HatipoğluArrangement: Bahri Onur Erol
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