Hadise - Ara Beni - Chord

Key Db major – Bb minor Chords Fm7, Gbmaj7, Ebm7, Ab7, Bbm7 Easy key C (capo 1)

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Capo 0

Gbmaj7  Ab7  Bbm7

Gbmaj7           Fm7
Delirdim geceleri
          Gbmaj7            Fm7
Düşünerek yine kara kara seni
        Gbmaj7          Fm7
İnadını bırak da ara beni
      Ebm7             Fm7
Neler oldu söyle neden oldu

Gbmaj7       Fm7
 Yoksun diye döndü dünyam tersine
Gbmaj7     Fm7
 Yüreğimin benle bilmem derdi ne
Gbmaj7     Fm7
 İç içe bu şişelerin dibine
 Ebm7          Fm7
 Battım kaldım battım kaldım
x2

Gbmaj7           Fm7
Delirdim geceleri
          Gbmaj7            Fm7
Düşünerek yine kara kara seni
        Gbmaj7          Fm7
İnadını bırak da ara beni
      Ebm7             Fm7
Neler oldu söyle neden oldu
x2

Gbmaj7            Fm7
Yalanına takıldım kaldım orda
Gbmaj7             Fm7
Yarınıma sen böyle ortak olma
Gbmaj7           Fm7
Yaralama düşürme beni yine ağına
 Ebm7  Fm7
Uyan, uyan
 
Gbmaj7           Fm7
Delirdim geceleri
          Gbmaj7            Fm7
Düşünerek yine kara kara seni
        Gbmaj7          Fm7
İnadını bırak da ara beni
      Ebm7             Fm7
Neler oldu söyle neden oldu
x2

End of song Play again?

Hadise - Ara Beni Tabs

NotesX

Harmony analysis

Hadise – Ara Beni: key and chord analysis

The song opens on Gbmaj7 and ends on Fm7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

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)

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 Bbm is heard 1 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii7	Ebm7	Supertonic — prepares the dominant	Eb · Gb · Bb · Db	5×
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	—
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	16×
V7	Ab7	Dominant — strongest pull home	Ab · C · Eb · Gb	1×
vi7	Bbm7	Relative minor — the melancholy side	Bb · Db · F · Ab	1×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i7	Bbm7	Tonic — home	Bb · Db · F · Ab	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	5×
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	—
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	16×
VII7	Ab7	Subtonic — steps back to the tonic	Ab · C · Eb · Gb	1×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 43 times in total; 5 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

Ab7 Bbm7 DbV7 → vi7deceptive cadence BbmVII7 → i7Aeolian arrival ×1
Gbmaj7 Ab7 DbIVmaj7 → V7IV → V BbmVImaj7 → VII7VI → VII ×1

The move to watch is Ab7 → Bbm7, heard once. From the Bbm side it is VII7 → i7 (Aeolian arrival: rises a whole tone into home); from the Db side it reads V7 → vi7 (deceptive cadence: expected Db, lands on Bbm). 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 Gbmaj7, land on Gb, Bb, Db — 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.

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 opening Gbmaj7 lays a solid floor for everything that follows. The backbone is Fm7, Gbmaj7, Ebm7, Ab7 — iii7–IVmaj7–ii7–V7 from the Db side, v7–VImaj7–iv7–VII7 from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab7 → Bbm7 (V7 → vi7 in Db, VII7 → i7 in Bbm): Aeolian arrival — rises a whole tone into home. 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.