Ciwan Haco - Nazike - Chord

Key D major – B minor Chords Bm7, A Easy key C (capo 2)

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Capo 0

Bm7  A  Bm7  A

    Bm7        A
Erê keçkê tu were
  Bm7       A
Nazikê tu were
      Bm7       A
Te ez kuştim helandim
   Bm7        A
Çi bêjim ji tere
     Bm7
Tu were tu were hey hey hey
 
     Bm7             A
Çend salin li hêviya te
   Bm7           A
Li hêviya dîtina te

    Bm7        A
Erê keçkê tu were
  Bm7       A
Nazikê tu were
      Bm7       A
Te ez kuştim helandim
   Bm7        A
Çi bêjim ji tere
     Bm7
Tu were tu were hey hey hey
 
        Bm7       A
Were em herin dîlanê
          Bm7      A
Were em herin seyranê
  Bm7         A
Herin Kurdistanê

    Bm7        A
Erê keçkê tu were
  Bm7       A
Nazikê tu were
      Bm7       A
Te ez kuştim helandim
   Bm7        A
Çi bêjim ji tere
     Bm7
Tu were tu were hey hey hey

End of song Play again?

Ciwan Haco - Nazike Tabs

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Harmony analysis

Ciwan Haco – Nazike: key and chord analysis

The song opens on Bm7 and ends on Bm7. 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 B minor side because it both starts and finishes on Bm and Bm is heard 22 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii	Em	Supertonic — prepares the dominant	E · G · B	—
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	—
V	A	Dominant — strongest pull home	A · C# · E	19×
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	22×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i7	Bm7	Tonic — home	B · D · F# · A	22×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iv	Em	Subdominant — moves away from home	E · G · B	—
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	—
VII	A	Subtonic — steps back to the tonic	A · C# · E	19×

Analysis

The key pair is D major and its relative B minor (2 sharps). 2 different chords appear 41 times in total; 2 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

A Bm7 DV → vi7deceptive cadence BmVII → i7Aeolian arrival ×19

The move to watch is A → Bm7, heard 19 times. From the Bm side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the D side it reads V → vi7 (deceptive cadence: expected D, lands on Bm). 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — 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
3 semitones up

The song's harmonic story

The first chord is Bm7; the ear learns where home is within a second. Bm7, A carry the song: vi7–V relative to D, i7–VII relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → Bm7 (V → vi7 in D, VII → i7 in Bm): Aeolian arrival — rises a whole tone into home. It closes on Bm7, letting the Bm 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.