Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Zakkum - Hatıran Yeter - Chord
Key Bb major – G minor Chords Dm, Cm, Eb, Bb, Gm, F Easy key C
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Key: Bb | Gm
Capo: 0
Dm Dm Gm F Eb F Eb Dm Cm Dm Dm Eb Dm Senden bir hatıra bana bu şarkı Gm F Bb Dm Bir gün gitsen bile hatıran yeter Cm Bb Gm F Unutmak mümkün mü böyle bir aşkı Dm Eb Cm Dm Bir gün gitsen bile hatıran yeter Bb Eb Cm Dm Hatıran yeter, hatıran yeter Dm Cm Gm Eb Dm Bb Cm Dm Bir yanda yaşanan o güzel günler Cm Gm F Bir yanda anılar bir yanda dünler Cm Bb Gm F Seni yaşatacak neler var neler Dm Eb Cm Dm Bir gün gitsen bile hatıran yeter Bb Eb Cm Dm Hatıran yeter, hatıran yeter Eb Dm Bb Cm Bir gün gitsen bile hatıran yeter Cm Dm Hatıran yeter Dm Gm Dm Eb Dm Dm Dm Gm F Eb F Eb Dm Cm Dm Dm Eb Dm Bilinmez neleri getirir zaman Gm F Bb Dm Bilinmez neleri götürür zaman Cm Bb Gm F Aşka bir hatıradır maziden kalan Dm Eb Cm Dm Bir gün gitsen bile hatıran yeter Bb Eb Cm Dm Hatıran yeter, hatıran yeter Dm Cm Gm Eb Dm Bb Cm Dm Bir yanda yaşanan o güzel günler Cm Gm F Bir yanda anılar bir yanda dünler Cm Bb Gm F Seni yaşatacak neler var neler Dm Eb Cm Dm Bir gün gitsen bile hatıran yeter Bb Eb Cm Dm Hatıran yeter, hatıran yeter Eb Dm Bb Cm Bir gün gitsen bile hatıran yeter Cm Dm Hatıran yeter
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Zakkum - Hatıran Yeter Tabs
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Harmony analysis
Zakkum – Hatıran Yeter: key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb major side because Bb is heard 14 times against 13 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 14× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 24× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 39× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 19× |
| V | F | Dominant — strongest pull home | F · A · C | 12× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 13× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 13× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 14× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 24× |
| v | Dm | Minor dominant — soft pull | D · F · A | 39× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 19× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 12× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 121 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
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×5
- Cm Gm Bbii → vi Gmiv → iminor plagal ×4
- F Bb BbV → Iauthentic cadence GmVII → III ×2
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2
The move to watch is Dm → Gm, heard 5 times. From the Bb side it reads iii → vi; from the Gm side it is v → i (natural-minor cadence: gentle, modal arrival). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- 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.
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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. Dm, Cm, Eb, Bb carry the song: iii–ii–IV–I relative to Bb, v–iv–VI–III relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. Ending on Dm, the song seals Bb 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.
Zakkum - Hatıran Yeter 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 Selçuk İlkanMusic: Yılmaz Tatlıses
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