Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Nahide Babaşlı - Nası Seviyo - Chord
Key A major – F# minor Chords Db, Dmaj7, Gbm, E Easy key C
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Key: A | Gbm | F#m
Capo: 0
Dmaj7 Db Gbm Db
Dmaj7 Db
Ölüyor derdimdem ama
Gbm Db
Yatıyor her gün kapımda
Dmaj7 Db
Naz yapmadan olmazki
Gbm Db
O nazımdan usanmazki
Dmaj7 Db
Nası nası seviyo
Gbm Db
Ama hoşuma gidiyo
Dmaj7 Db
Nereye gitsem yanımda
Gbm Db
Biraz işime de geliyo
Dmaj7 Db
Sarı sarı sarı saçları
Gbm Db
Gamzelidir yanakları
Dmaj7 Db
Özlüyorum görmeyince
Gbm Db
O sımsıcak bakışları
Gbm E Dmaj7 Db
Dmaj7 Db Gbm
Ahh sevsem mi bilemiyorum
Db Dmaj7
Gitsem mi utanıyorum
Db Gbm Db
Ben aşktan çekiniyoruuuuuum
Dmaj7 Db Gbm
Ah sanki boş değilim ona karşı
Db
Bu aralar hoş halim ama
Dmaj7 Db Gbm Db
Korkuyorum aşka kaptırmaya kendimi
Dmaj7 Db Gbm Db
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Nahide Babaşlı - Nası Seviyo Tabs
NotesX
Harmony analysis
Nahide Babaşlı – Nası Seviyo: key and chord analysis
The song opens on Dmaj7 and ends on Db. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
- #7 = E# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because F#m is heard 13 times while A never appears and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | Db | Secondary dominant V/vi — leads to Gbmsecondary dominant | Db · F · Ab | 25× |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 13× |
| V | E | Dominant — strongest pull home | E · G# · B | 1× |
| vi | Gbm | Relative minor — the melancholy side | Gb · A · Db | 13× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gbm | Tonic — home | Gb · A · Db | 13× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | Db | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Db · F · Ab | 25× |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 13× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 1× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 52 times in total; 3 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same Db is V/vi, a secondary dominant heading for F#m.
Chord movement
- Db Gbm AV/vi → vi F#mV → iharmonic-minor cadence ×13
The move to watch is Db → Gbm, heard 13 times. From the F#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the A side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Gbm, land on Gb, A, Db — the chord's own tones always sound right on strong beats.
- When Db comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 3 semitones up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The opening Dmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Db, Dmaj7, Gbm, E; read them as V/vi–IVmaj7–vi–V in A or V–VImaj7–i–VII in F#m. Db is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Db → Gbm (V/vi → vi in A, V → i in F#m): harmonic-minor cadence — the major V resolves dramatically. Ending on Db, the song seals A 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.
Nahide Babaşlı - Nası Seviyo 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: Nahide BabaşlıMusic: Nahide BabaşlıArrangement: Esad Fidan
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