Demet Akalın - Hatıram Olsun - Chord

Key F major – D minor Chords Am, Dm, Gm, Bb, C, F, D Easy key C (capo 5)

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Capo 0

Bb  Bb  Bb  Am
Am  Am  Am  Bb  Bb  Dm
Dm  Dm  Dm  C   Bb  Bb  Bb  Am  Gm  Gm  Gm  Am

Am  Am  Gm  Gm  Dm  Gm  Am
Am  Am  Dm  Dm  Am  Dm  Gm
Am  Am  Dm  Dm  C   Bb  Am

Dm        Am                 Gm
İnan şiir gözlüm, inan gönül sözlüm
Dm                             C       Bb  Am 
Sensiz bir dünyayı yaşamam yaşamam yaşayaaamam
Dm       Am              Gm
Elin ellerimde, gözün gözlerimde
    Dm                       C          Bb  Am
Bil ki yüreğimde sıcacık sıcacık bir sevgin var

F     C         F
Sende hatıralar var
      C          F
Sende mutluluklar var
Gm   D         Gm
Sana sitem ettiysem
  Am  Bb        Am
Sitem sevgiden doğar

C  Bb  Am  Am

Dm            Gm              Dm        Gm   Am
Ben sende yaşadım, seninle tattım böyle bir aşkı
             Dm             Am       Dm    Gm
Al hatıram olsun, armağan olsun sana bu şarkı
Am             Dm               C           Bb    Am
Çal, benim için çal, bu ask için çal, bizim bu şarkı

Dm                 Am     Gm
Eğer gideceksen, veda edeceksen
   Dm                        C      Bb  Am
Bitti diyeceksen, canımı canımı alıpta  git
  Dm        Am                 Gm
Sensin tek umudum, sensin mutluluğum
  Dm                          C       Bb  Am
Seni canımdan çok seviyor seviyor seviyooorum

F     C         F
Sende hatıralar var
      C          F
Sende mutluluklar var
Gm   D         Gm
Sana sitem ettiysem
  Am  Bb        Am
Sitem sevgiden doğar

C  Bb  Am  Am

Dm            Gm              Dm        Gm   Am
Ben sende yaşadım, seninle tattım böyle bir aşkı
             Dm             Am       Dm    Gm
Al hatıram olsun, armağan olsun sana bu şarkı
Am             Dm               C           Bb    Am
Çal, benim için çal, bu ask için çal, bizim bu şarkı

End of song Play again?

Demet Akalın - Hatıram Olsun Tabs

NotesX

Harmony analysis

Demet Akalın – Hatıram Olsun: key and chord analysis

The song opens on Bb and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because Dm is heard 28 times against 6 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	6×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	21×
iii	Am	Mediant — a tonic-family shade	A · C · E	39×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	19×
V	C	Dominant — strongest pull home	C · E · G	14×
vi	Dm	Relative minor — the melancholy side	D · F · A	28×
V/ii	D	Secondary dominant V/ii — leads to Gmsecondary dominant	D · F# · A	2×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	28×
V/iv	D	Secondary dominant V/iv — leads to Gmsecondary dominant	D · F# · A	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	6×
iv	Gm	Subdominant — moves away from home	G · Bb · D	21×
v	Am	Minor dominant — soft pull	A · C · E	39×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	19×
VII	C	Subtonic — steps back to the tonic	C · E · G	14×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 129 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Am Dm Fiii → vi Dmv → inatural-minor cadence ×15
Gm Dm Fii → vi Dmiv → iminor plagal ×7
C F FV → Iauthentic cadence DmVII → III ×4
Bb Dm FIV → vi DmVI → iVI → i ×1

The move to watch is Am → Dm, heard 15 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The opening Bb lays a solid floor for everything that follows. Am, Dm, Gm, Bb carry the song: iii–vi–ii–IV relative to F, v–i–iv–VI relative to Dm. D adds a moment of surprise: secondary dominant V/ii — leads to Gm. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. It closes on Am, letting the F side have the last word.

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.