Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Ferdi Tayfur - Hatıran Yeter - Chord
Key Bb major – G minor Chords Dm, Cm, Bb, Eb, Gm, F Easy key C
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Key: Bb | Gm
Capo: 0
Dm Eb Dm Senden bir hatıra bana bu şarkı, Gm F Bb Dm Bir gün gitsen bile hatıran yeter, Cm Bb Gm F Unutmak mümkün mü böyle bir aşkı, Dm Eb Cm Dm Bir gün gitsen bile hatıran yeter, Bb Eb Cm Dm Hatıran yeter, hatıran yeter, Eb Dm Bb Cm Bir gün gitsen bile hatıran yeter, Cm Dm Hatıran yeter Bb Bir yanda yaşanan o güzel günler, Cm Bb Bir yanda anılar bir yanda dünler, Cm Bb Gm F Seni yaşatacak neler var neler, Dm Eb Cm Dm Bir gün gitsen bile hatıran yeter, Bb Eb Cm Dm Hatıran yeter, hatıran yeter, Eb Dm Bb Cm Bir gün gitsen bile hatıran yeter, Cm Dm Hatıran yeter Dm Eb Dm Bilinmez neleri getirir zaman, Gm F Bb Dm Bilinmez neleri götürür zaman, Cm Bb Gm F Aşka bir hatıradır maziden kalan, Dm Eb Cm Dm Bir gün gitsen bile hatıran yeter, Bb Eb Cm Dm Hatıran yeter, hatıran yeter, Eb Dm Bb Cm Bir gün gitsen bile hatıran yeter, Cm Dm Hatıran yeter
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Ferdi Tayfur - Hatıran Yeter Tabs
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Harmony analysis
Ferdi Tayfur – Hatıran Yeter: key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb major side because Bb is heard 13 times against 5 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 13× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 16× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 21× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 11× |
| V | F | Dominant — strongest pull home | F · A · C | 5× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 5× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 5× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 13× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 16× |
| v | Dm | Minor dominant — soft pull | D · F · A | 21× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 11× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 5× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 71 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
- F Bb BbV → Iauthentic cadence GmVII → III ×2
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×2
The move to watch is F → Bb, heard 2 times. From the Bb side it reads V → I (authentic cadence: the strongest arrival home); from the Gm side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Dm lays a solid floor for everything that follows. Dm, Cm, Bb, Eb carry the song: iii–ii–I–IV relative to Bb, v–iv–III–VI relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. Ending on Dm, the song seals Bb 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.
Ferdi Tayfur - Hatıran Yeter 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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