Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Ayla Dikmen - Anlamazdın - Chord
Key D major – B minor Chords Bm, F#7, Em, D, G, C#7, C#dim, A Easy key C (capo 2)
No ratings yet
or your user informations
Make it yours
Text size
Key: D | Bm
Capo: 0
Bm C#dim D Em Em A D G F#7 Bm
Bm Em
Sevilirken bilmedin mi
F#7 Bm
Ben söylerken gülmedin mi
C#7 F#7
Falımızda hasret var, ayrılık var
Bm
Demedim mi
Bm Em
Anlamazdın anlamazdın
F#7 Bm
Kadere de inanmazdın
G C#7 F#7
Hani sen acı veren kalpsizlerden
Bm
Olamazdın
Bm C#dim D Em A
Diiileeeeeerim ki mutlu ol sevgilim
D G
Ben olmasam bile hayat gülsün sana
Em
Günahım boynunda
F#7 Bm
Ağlayan bir çift göz bıraktın arkanda
(Nakaratla aynı şekilde lalala)
Bm Em
Kalbim bomboş kaldı sanma
F#7 Bm
Acılar geçer zamanla
C#7
Aşka tövbe edemem ben
F#7 Bm
Görürsün sevince yeniden
Bm Em
Anlamazdın anlamazdın
F#7 Bm
Kadere de inanmazdın
G C#7 F#7
Hani sen acı veren kalpsizlerden
Bm
Olamazdın
End of song Play again?
Ayla Dikmen - Anlamazdın Tabs
NotesX
Harmony analysis
Ayla Dikmen – Anlamazdın: key and chord analysis
The song opens on Bm and ends on Bm. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
- #7 = A# (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 B minor side because it both starts and finishes on Bm, Bm is heard 16 times against 4 for D and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | 4× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 8× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 10× |
| IV | G | Subdominant — moves away from home | G · B · D | 4× |
| V | A | Dominant — strongest pull home | A · C# · E | 2× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 16× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | 2× |
| V7/iii | C#7 | Secondary dominant V/iii — leads to F#msecondary dominant | C# · E# · G# · B | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 16× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | 2× |
| V7/v | C#7 | Secondary dominant V/v — leads to F#msecondary dominant | C# · E# · G# · B | 4× |
| III | D | Relative major — the bright side | D · F# · A | 4× |
| iv | Em | Subdominant — moves away from home | E · G · B | 8× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 10× |
| VI | G | Submediant — warm colour | G · B · D | 4× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 2× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 50 times in total; 6 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm. C#7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×10
- Em F#7 Dii → V7/vi Bmiv → V7iv → V ×5
- C#7 F#7 DV7/iii → V7/visecondary resolution BmV7/v → V7 ×4
- A D DV → Iauthentic cadence BmVII → III ×2
- Em A Dii → Vii → V Bmiv → VII ×2
The move to watch is F#7 → Bm, heard 10 times. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to Bm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over F#7, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- When F#7 comes, swap the scale's A for A#: 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Bm, the song gives away its key from the very first bar. Bm, F#7, Em, D carry the song: vi–V7/vi–ii–I relative to D, i–V7–iv–III relative to Bm. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Bm; the ear comes to rest in Bm.
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.
Ayla Dikmen - 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Fatma Fikret ŞeneşMusic: Anonim
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.