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)
Irmak Arıcı - Anlayamazsın - Chord
Key D major – B minor Chords F#m7, Em7, Gmaj7, Bm7 Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Gmaj7 F#m7 Bm7 Em7 F#m7 Em7 F#m7
Gmaj7 F#m7
Ne çok yaralar aldı yüreğim
Bm7 Em7
Anlatılmaz, anlamazsın
F#m7
Yalan dolu sözlerine kandım
Em7 Gmaj7
Geç olsa da farkına vardım
Gmaj7 F#m7
Benim için önemli olan
Bm7 Em7
Sadece sendin kimseler değil
F#m7
Ve gelirim üstesinden bi ara
Em7 F#m7 Gmaj7
Usulca kalbime gömerim seni
Gmaj7 F#m7
Anlayamazsın, yarım kaldık
Em7 F#m7 Geç
Yaşanmadı saydın, yaşanmadı saydım
Gmaj7 Em7 F#m7
Mahşere kalsın hesabımız artık
Em7 Bm7 Em7 Bm7
Ne varsa kapandı bende, sende de kapansın
Senin için önemli olan
Sadece sensin hislerim değil
Elinde olsa bi’ daha kovar
Yamacından yüreğin beni
End of song Play again?
Irmak Arıcı - Anlayamazsın Tabs
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Harmony analysis
Irmak Arıcı – Anlayamazsın: key and chord analysis
The song opens on Gmaj7 and ends on Bm7. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because it comes to rest on Bm and Bm is heard 5 times while D never appears. 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 | — |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 9× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 10× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 7× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 5× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 5× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 9× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 10× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 7× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 31 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#m7 Bm7 Diii7 → vi7 Bmv7 → i7natural-minor cadence ×3
- Em7 Bm7 Dii7 → vi7 Bmiv7 → i7minor plagal ×2
The move to watch is F#m7 → Bm7, heard 3 times. From the Bm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the D side it reads iii7 → vi7. 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 F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Gmaj7, land on G, B, D — 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 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
The first chord is Gmaj7; the ear learns where home is within a second. The backbone is F#m7, Em7, Gmaj7, Bm7 — iii7–ii7–IVmaj7–vi7 from the D side, v7–iv7–VImaj7–i7 from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → Bm7 (iii7 → vi7 in D, v7 → i7 in Bm): natural-minor cadence — gentle, modal arrival. Ending on Bm7, the song seals Bm 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.
Irmak Arıcı - Anlayamazsın 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: Oktay KayaMusic: Oktay KayaArrangement: Efe Can
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