Serkan Kaya - Hatıran yeter - Chord

Key Eb major – C minor Chords Gm, Fm, Ab, Eb, Cm, Bb Easy key C (capo 3)

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Capo 0

Gm                 Ab         Gm
Senden bir hatıra bana bu şarkı
Cm              Bb   Eb        Gm
Bir gün gitsen bile hatıran yeter
Fm         Eb      Cm          Bb
Unutmak mümkün mü böyle bir aşkı
Gm              Ab   Fm        Gm
Bir gün gitsen bile hatıran yeter
Eb        Ab   Fm         Gm
Hatıran yeter, hatıran yeter

Ab              Gm   Eb        Fm
Bir gün gitsen bile hatıran yeter
Fm         Gm
Hatıran yeter

Gm   Fm   Cm   Ab   Gm

Eb                Fm          Gm
Bir yanda yaşanan o güzel günler
Fm               Cm         Bb
Bir yanda anılar bir yanda dünler
Fm        Eb    Cm        Bb
Seni yaşatacak neler var neler
Gm              Ab   Fm        Gm
Bir gün gitsen bile hatıran yeter
Eb         Ab   Fm        Gm
Hatıran yeter, hatıran yeter
Ab             Gm    Eb        Fm
Bir gün gitsen bile hatıran yeter
Fm       Gm
Hatıran yeter

Gm              Ab         Gm
Bilinmez neleri getirir zaman
Cm          Bb   Eb        Gm
Bilinmez neleri götürür zaman
Fm            Eb   Cm       Bb
Aşka bir hatıradır maziden kalan
Gm             Ab   Fm         Gm
Bir gün gitsen bile hatıran yeter
Eb        Ab    Fm        Gm
Hatıran yeter, hatıran yeter

Ab              Gm   Eb        Fm
Bir gün gitsen bile hatıran yeter
Fm         Gm
Hatıran yeter

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Serkan Kaya - Hatıran yeter Tabs

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Harmony analysis

Serkan Kaya – Hatıran yeter: key and chord analysis

The song opens on Gm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb major side because Eb is heard 12 times against 7 for Cm. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	12×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	18×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	24×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	12×
V	Bb	Dominant — strongest pull home	Bb · D · F	6×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	7×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	7×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	12×
iv	Fm	Subdominant — moves away from home	F · Ab · C	18×
v	Gm	Minor dominant — soft pull	G · Bb · D	24×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	12×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	6×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 79 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

Bb Eb EbV → Iauthentic cadence CmVII → III ×2
Fm Cm Ebii → vi Cmiv → iminor plagal ×2
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×2

The move to watch is Bb → Eb, heard 2 times. From the Eb side it reads V → I (authentic cadence: the strongest arrival home); from the Cm side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. Gm, Fm, Ab, Eb carry the song: iii–ii–IV–I relative to Eb, v–iv–VI–III relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. Ending on Gm, the song seals Eb 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.