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)
Reşit Kemal - Bu Ne Hava - Chord
Key D major – B minor Chords F#m7, Bm7, F#m, Gmaj7, Em7, Bm Easy key C (capo 2)
No ratings yet
or your user informations
Make it yours
Text size
Key: D | Bm
Capo: 0
Bm7 F#m7 Gmaj7 F#m7 Bm7 F#m7 Em7 F#m
Yüksel (yüksel, yüksel, yüksel, yüksel)
Bm
Dedim, kızım bu ne havalar?
F#m7
Senin niye burnun havada?
Gmaj7
Naz yapma ve bin arabama
F#m
Başkasına at hadi hava
Bm
Görmedim hiç böyle sarışın (ha, ha)
F#m7
Sen teksin, bu neyin yarışı? (ha, ha)
Em7
Yanına bu deli yakışır (ha, ha)
F#m
Yanına bu deli yakışır (ha, ha)
Bm7 F#m7 Gmaj7 F#m7 Bm7 F#m7 Em7 F#m
(Tüm şarkı boyunca aynı akor döngüsü devam eder)
Kız adamı evinden eder
Sendeki bu diri memeler
Mimikler, o gülümsemeler
Kız adamı evinden eder
Sana nasıl yakınlaşılır? (ha, ha)
Söyle nasıl gönlün açılır? (ha, ha)
Görmeye nasıl alışılır? (ha, ha)
Ya da koklamaya sarı saçını (ha, ha)
İster inan ister inanma, ölüyorum yamacıma gel biraz
İlacını bana da bi' ver biraz, ver, hadi ver de acı dinsin biraz
Yüksel biraz, yüksel biraz sen, bence yakaladım bebek iyi bi' şans
Bu deliye yapılamaz itiraz, dönsün dünya edelim biz iyi bi' dans
Görmedim hiç böyle sarışın
Sen teksin bu neyin yarışı (yüksel, yüksel)
Dedim, kızım bu ne havalar
Dedim, kızım bu ne havalar?
Senin niye burnun havada?
Naz yapma ve bin arabama
Başkasına at hadi hava
Görmedim hiç böyle sarışın (ha, ha)
Sen teksin, bu neyin yarışı? (ha, ha)
Yanına bu deli yakışır (ha, ha)
Yanına bu deli yakışır (ha, ha)
Kız adamı evinden eder
End of song Play again?
Reşit Kemal - Bu Ne Hava Tabs
NotesX
Harmony analysis
Reşit Kemal – Bu Ne Hava: key and chord analysis
The song opens on Bm7 and ends on F#m. Its chords belong to both D major and Bm, so every chord below is read both ways.
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 opens on Bm and Bm is heard 6 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 3× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 8× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 4× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 3× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 4× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 2× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 4× |
| i | Bm | Tonic — home | B · D · F# | 2× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 3× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 8× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 4× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 3× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 24 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#m7 Bm7 Diii7 → vi7 Bmv7 → i7natural-minor cadence ×2
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×2
- F#m Bm7 Diii → vi7 Bmv → i7natural-minor cadence ×1
The move to watch is F#m7 → Bm7, heard 2 times. From the Bm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the D side it reads iii7 → vi7. 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 F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — 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 opening Bm7 lays a solid floor for everything that follows. F#m7, Bm7, F#m, Gmaj7 carry the song: iii7–vi7–iii–IVmaj7 relative to D, v7–i7–v–VImaj7 relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → Bm7 (iii7 → vi7 in D, v7 → i7 in Bm): natural-minor cadence — gentle, modal arrival. It closes on F#m, letting the D 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.
Reşit Kemal - Bu Ne Hava 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Reşit Kemal
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.