Kenan Doğulu - Ara Beni Lütfen - Chord

Key Db major – Bb minor Chords Bbm, F#, Ebm, Ab Easy key G (capo 6)

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Capo 0

Bbm

Bbm            F#              Bbm  F#
Belki haberin yok, her şeyi duydum 
Bbm         F#            Bbm  F#
Belki yüzün yok, perişan oldun 
         Ebm                Ab
Belki de şarjın bitti ya da biz bittik 
          Bbm
Ara beni lütfen 

Bbm            F#              Bbm  F#
Sesini duymalıyım, masal anlatsan da 
Bbm          F#            Bbm  F#
Hikayen ödülleri, toparlasa da
     Ebm              Ab
Seni çok sevmiş olsam da
         Bbm
Unut beni lütfen
     Ebm              Ab
Sana çok kızmış olsam da
          Bbm
Ara beni lütfen  

Bbm
Umduğum dağlara karlar mı yağdı? 
                 F#   
İçinde bu kadar öfke mi vardı? 
Ab                    Ebm
Ben demiştim demeyi, ezberledim gitmeyi, 
                  F#       Bbm
İnsan sevdiğine böyle yapar mı? 

Bbm            F#              Bbm  F#
Bil ki sebebim çok, beni kaybettin 
Bbm          F#            Bbm  F#
Artık duvarlarım, cebimde değil
     Ebm              Ab
Seni çok sevmiş olsam da
          Bbm 
Unut beni lütfen 
     Ebm             Ab
Sana çok kızmış olsam da 
          Bbm
Ara beni lütfen

End of song Play again?

Kenan Doğulu - Ara Beni Lütfen Tabs

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Harmony analysis

Kenan Doğulu – Ara Beni Lütfen: key and chord analysis

The song opens on Bbm and ends on Bbm. 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 it both starts and finishes on Bbm and Bbm is heard 20 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	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	6×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	F#	Subdominant — moves away from home	F# · A# · C#	14×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	6×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	20×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	20×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	6×
v	Fm	Minor dominant — soft pull	F · Ab · C	—
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	F#	Submediant — warm colour	F# · A# · C#	14×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	6×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 46 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

F# Bbm DbIV → vi BbmVI → iVI → i ×10
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×5
Ebm Ab Dbii → Vii → V Bbmiv → VII ×5
F# Ab DbIV → VIV → V BbmVI → VIIVI → VII ×1

The move to watch is F# → Bbm, heard 10 times. From the Bbm side it is VI → i (VI → i: falls a half step into home); from the Db side it reads IV → vi. 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
Over Ebm, 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

6 semitones up · capo 6 keeps the original pitch
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The opening Bbm lays a solid floor for everything that follows. Bbm, F#, Ebm, Ab carry the song: vi–IV–ii–V relative to Db, i–VI–iv–VII relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F# → Bbm (IV → vi in Db, VI → i in Bbm): VI → i — falls a half step into home. It closes on Bbm, letting the Bbm 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.