Emir Can İğrek - Anılar - Chord

Key D major – B minor Chords D, G, Em, A, C Difficulty already in its easiest key

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Capo 0

Em  Em  G  D  C  D  G  
Em  Em  G  D  C  G  D

Em                  A
Hançeri bile göğsüme yakışırdı
Em                      A 
Saç teline kadar benimle karışırdı
Em         A        D
Her sevişme bir rüyaydı
Em                  A
Sırılsıklam âşıktık, yağmur dindi

Em           A       G
Vurup vurup kaçar anılar
            D           C
Durup durup içerim, eeeh
                 D     G
Kolay kapanmıyor defterler

Bende (Eyvah) / Bende (Allah)

Em  A  G  D  C  D  G  D

Em         A
Ner'de o zamanlar? (Ner'de?)
Em         A
Ner'de o zamanlar? (Ner'de?)
G            A
Bir barda hem içkimi 
   D 
Hem kendimi bitirirken
G      A     D
Anarım, anarım seni
G     A      D
Ararım, ararım seni (Hey)

Em           A       G
Vurup vurup kaçar anılar
            D           C
Durup durup içerim, eeeh
                 D     G
Kolay kapanmıyor defterler

Bende (Eyvah) / Bende (Allah)

Em  A  G  D  C  D  G  D

End of song Play again?

Emir Can İğrek - Anılar Tabs

NotesX

Harmony analysis

Emir Can İğrek – Anılar: key and chord analysis

The song opens on Em and ends on D. Its chords belong to both D major and Bm, so every chord below is read both ways.

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)

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 D major side because it comes to rest on D and D is heard 18 times while Bm never appears. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	18×
ii	Em	Supertonic — prepares the dominant	E · G · B	14×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
III	F#	Chromatic colour chordoutside the key	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	15×
V	A	Dominant — strongest pull home	A · C# · E	13×
vi	Bm	Relative minor — the melancholy side	B · D · F#	—
bVII	C	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C · E · G	6×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	—
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	6×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	18×
iv	Em	Subdominant — moves away from home	E · G · B	14×
v	F#m	Minor dominant — soft pull	F# · A · C#	—
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	15×
VII	A	Subtonic — steps back to the tonic	A · C# · E	13×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 66 times in total; 4 of them sit naturally inside the shared scale. C is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Em A Dii → Vii → V Bmiv → VII ×10
G D DIV → Iplagal cadence BmVI → III ×9
C D DbVII → IbVII → I BmbII → III ×5
A D DV → Iauthentic cadence BmVII → III ×4
G A DIV → VIV → V BmVI → VIIVI → VII ×3

The move to watch is Em → A, heard 10 times. From the D side it reads ii → V (ii → V: the classic preparation of the dominant); from the Bm side it is iv → VII. 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — 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.
On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.

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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. D, G, Em, A carry the song: I–IV–ii–V relative to D, III–VI–iv–VII relative to Bm. C briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Em → A (ii → V in D, iv → VII in Bm): ii → V — the classic preparation of the dominant. The final chord is D; the ear comes to rest in D.

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.