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)
Anıl Durmuş - Hastayım Sana - Chord
Key Bb major – G minor Chords Gm, Cm, Eb, F, Dm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm
Beni hafife alsan da
Söz verip aramasan da
Cm
Telefonu açmasan da
Gm
Gönlün benden yana
Cm F
Sor bir kere ona
Cm Gm
Yalvarırsam şımarırsın
Gm
Öyle güzel değilsin ki
Eb F
Şaka yaptım dur ağlama
Dm
Sana deli olan beni
Eb Cm Gm
Harca hiç korkma, hastayım sana
Eb
Dermansızım, başkayım sana
Cm Gm
Sana arsızım
Gm
Ne kadar inatçıysan da
Dönüp geleceksin bana
Cm
İzin var dudaklarımda
Gm
Alıştım aslında
Cm F
Her çocukluğuna
Cm Gm
Bunca derdin arasında
Aşk yansıtan bir aynasın
Eb F
Kardan beyaz bir sayfasın
Dm
Senin benim bu aşk bizim
Eb Cm Gm
Bırakmam seni ben artık sensiz imkansızım
Eb Cm Gm
Beni bırakma, ben gerçek aşkım
Eb Cm Gm
Bırakma beni, ben artık sensiz imkansızım
Eb Cm Gm
Beni bırakma, ben gerçek aşkım
Eb Cm Gm
Harca hiç korkma, hastayım sana
Eb
Dermansızım, beni bırakma
Cm Gm
Ben gerçek aşkım
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Anıl Durmuş - Hastayım Sana Tabs
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Harmony analysis
Anıl Durmuş – Hastayım Sana: key and chord analysis
The song opens on Gm and ends on Gm. 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 G minor side because it both starts and finishes on Gm and Gm is heard 15 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 14× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 2× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 10× |
| V | F | Dominant — strongest pull home | F · A · C | 4× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 15× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 15× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 14× |
| v | Dm | Minor dominant — soft pull | D · F · A | 2× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 10× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 4× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 45 times in total; 5 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
- Cm Gm Bbii → vi Gmiv → iminor plagal ×12
- Cm F Bbii → Vii → V Gmiv → VII ×2
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2
The move to watch is Cm → Gm, heard 12 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. 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 Gm, land on G, Bb, D — 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 Eb, land on Eb, G, Bb — 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. Gm, Cm, Eb, F carry the song: vi–ii–IV–V relative to Bb, i–iv–VI–VII relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. The final chord is Gm; the ear comes to rest in Gm.
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.
Anıl Durmuş - Hastayım Sana 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: Yıldız TilbeMusic: Yıldız TilbeArrangement: Kerem Çakıroğlu
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