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)
Andrea Berg - Du Hast Mich - Chord
Key Ab major – F minor Chords Ab, Eb, Db Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Ab Db
Ab Ab
Du brauchst das Gefühl frei zu sein
Db Ab
Niemand sagst du fängt dich ein
Eb Ab
Doch es war total Liebe pur
Db Ab
Manchmal frag ich mich
Eb
Warum Du?
Ab
Du hast mich 1.000 mal belogen
Eb
Du hast mich 1.000 mal verletzt
Eb
Ich bin mit Dir so hoch geflogen
Ab
Doch der Himmel war besetzt
Db
Du warst der Wind in meinen Flügeln
Ab
Hab so oft mit dir gelacht
Eb
Ich würd es wieder tun
Ab
Mit dir heute Nacht
Ab Ab
Suche deine Hand, such nach dir
Db Ab
Manchmal in der Nacht fehlst du mir
Eb Ab
Wer nimmt mich wie du in den Arm
Db Ab Eb
Wem erzähl ich dann meinen Traum?
Ab
Du hast mich 1.000 mal belogen
Eb
Du hast mich 1.000 mal verletzt
Eb
Ich bin mit Dir so hoch geflogen
Ab
Doch der Himmel war besetzt
Db
Du warst der Wind in meinen Flügeln
Ab
Hab so oft mit dir gelacht
Eb
Ich würd es wieder tun
Ab
Mit dir heute Nacht
Eb Ab
Wo bist du wenn ich von dir träum
Db Ab Eb
Wo bist du wenn ich heimlich wein
Ab
Du hast mich 1.000 mal belogen
Eb
Du hast mich 1.000 mal verletzt
Eb
Ich bin mit Dir so hoch geflogen
Ab
Doch der Himmel war besetzt
Db
Du warst der Wind in meinen Flügeln
Ab
Hab so oft mit dir gelacht
Eb
Ich würd es wieder tun
Ab
Mit dir heute Nacht
End of song Play again?
Andrea Berg - Du Hast Mich Tabs
NotesX
Harmony analysis
Andrea Berg – Du Hast Mich: key and chord analysis
The song opens on Ab and ends on Ab. 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 Ab major side because it both starts and finishes on Ab and Ab is heard 25 times while Fm never appears. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
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 | 25× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| III | C | Chromatic colour chordoutside the key | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 9× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 15× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 25× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 9× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 15× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 49 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
- Eb Ab AbV → Iauthentic cadence FmVII → III ×12
- Db Ab AbIV → Iplagal cadence FmVI → III ×9
The move to watch is Eb → Ab, heard 12 times. From the Ab side it reads V → I (authentic cadence: the strongest arrival home); from the Fm side it is VII → III. 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 Ab, land on Ab, C, Eb — 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 Db, land on Db, F, Ab — 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
- 1 semitone down · capo 1 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is Ab; the ear learns where home is within a second. The backbone is Ab, Eb, Db — I–V–IV from the Ab side, III–VII–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 Eb → Ab (V → I in Ab, VII → III in Fm): authentic cadence — the strongest arrival home. It closes on Ab, letting the Ab 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.
Andrea Berg - Du Hast Mich 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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