Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Nahide Babaşlı - Anlamazdın - Chord
Key F major – D minor Chords Dm7, Gm7, A7, Bbmaj7, Edim Easy key C (capo 5)
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Dm7 Gm7
Sevilirken bilmedin mi
A7 Dm7
Ben söylerken gülmedin mi
Bbmaj7 Gm7
Falımızda hasret var
Edim A7 Dm7
Ayrılık var, demedim mi
Dm7 Gm7
Anlamazdın, anlamazdın
A7 Dm7
Kadere de inanmazdın
Bbmaj7 Gm7
Hani sen acı veren
Edim A7 Dm7
Kalpsizlerden, olamazdın
Dm7 Gm7 A7
Dilerim ki mutlu ol sevgilim
Dm7 Bbmaj7
Ben olmasam bile, hayat gülsün sana
Gm7
Günahım boynunda
Edim A7 Dm7
Ağlayan bir çift göz, bıraktın arkanda
Dm7 Gm7 A7 Dm7 Bbmaj7 Gm7 Edim A7 Dm7
La la la
Dm7 Gm7
Kalbim bomboş kaldı sanma
A7 Dm7
Acılar geçer zamanla
Bbmaj7 Gm7
Aşka tövbe demem ben
Edim A7 Dm7
Görürsün bak sevince yeniden
Dm7 Gm7
Anlamazdın, anlamazdın
A7 Dm7
Kadere de inanmazdın
Bbmaj7 Gm7
Hani sen acı veren
Edim A7 Dm7
Kalpsizlerden, olamazdın
Dm7 Gm7 A7
Dilerim ki mutlu ol sevgilim
Dm7 Bbmaj7
Ben olmasam bile, hayat gülsün sana
Gm7
Günahım boynunda
Edim A7 Dm7
Ağlayan bir çift göz, bıraktın arkanda
End of song Play again?
Nahide Babaşlı - Anlamazdın Tabs
NotesX
Harmony analysis
Nahide Babaşlı – Anlamazdın: key and chord analysis
The song opens on Dm7 and ends on Dm7. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it both starts and finishes on Dm, Dm is heard 21 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 14× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 14× |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 7× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 21× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | 7× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 21× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | 7× |
| III | F | Relative major — the bright side | F · A · C | — |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 14× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 14× |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 7× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 63 times in total; 4 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm.
Chord movement
- A7 Dm7 FV7/vi → vi7secondary resolution DmV7 → i7harmonic-minor cadence ×14
- Gm7 A7 Fii7 → V7/vi Dmiv7 → V7iv → V ×7
- Edim A7 Fvii° → V7/vi Dmii° → V7ii° → V ×7
The move to watch is A7 → Dm7, heard 14 times. From the Dm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi7 (secondary resolution: A7 resolves a fourth up to Dm7). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- When A7 comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Dm7; the ear learns where home is within a second. Dm7, Gm7, A7, Bbmaj7 carry the song: vi7–ii7–V7/vi–IVmaj7 relative to F, i7–iv7–V7–VImaj7 relative to Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A7 → Dm7 (V7/vi → vi7 in F, V7 → i7 in Dm): harmonic-minor cadence — the major V resolves dramatically. It closes on Dm7, letting the Dm 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.
Nahide Babaşlı - Anlamazdın 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Fikret Şeneş
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.