Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Shirin David - Bauch Beine Po - Chord
Key C major – A minor Chords Am, Em, Dm, A7, C7, E7, Dm7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Dm Em
Yuh Iced Matcha Latte zu spät beim Pilates
Am Dm Em
Küsschen links Küsschen rechts ich trag heute was Scharfes
Am Dm Em
Ich steige in den Rangie mit Carmen Tina und Angie
Am Dm Em
Zum Frühstück ein'n Champagnie bei Bottegie Venetie
Am
Auf und ab wir laufen im Takt
Dm Em
Mit den Waffen einer Frau brrapapapap
A7
Ich bin schlau aber blond und supermegahot
A7 A7
These bitches could never glaub mir ich kann
C7 Am Dm
Du willst ein'n Body dann musst du pushen
Em Am Dm Em
Bist du ein Hottie werden sie gucken
Am Dm Em
Geh ins Gymmie werde skinny mach daraus eine Show
Am Dm
Wir sind pretty im Bikini das ist Bauch Beine Po
Am A7 Am Em
Businesslunch mit bisschen Distanz reiche Frau sucht reicheren Mann
Am
Ich bin out of office ruf mich nicht an
Dm Em
Das ist CleanGirlAesthetic BeautyProgramm
Am Dm Em
Charlottenburger Ladys jung hot und shady
Am Dm Em
Das PushPresent fürs Baby hat fast achtzig Caratie
Em Am
Auf und ab wir laufen im Takt
Dm Em
Mit den Waffen einer Frau brrapapapap
Am
Ich bin schlau aber blond und supermegahot
Am
These bitches could never glaub mir ich kann
Am Dm
Du willst ein'n Body dann musst du pushen
Em Am Dm Em
Bist du ein Hottie werden sie gucken
Am Dm Em
Geh ins Gymmie werde skinny mach daraus eine Show
Am
Wir sind pretty im Bikini das ist Bauch Beine Po
Am Dm Em
Atme ein atme aus
Am
Das war noch nicht genug push it tiefer
Am Dm Em
Komm noch zwei gib nicht auf
E7 Am Am
Verdammt du machst das gut push it Tiger
Am Dm Em
Du willst ein'n Body dann musst du pushen
Am Dm Em
Bist du ein Hottie werden sie gucken
Am Dm Em
Geh ins Gymmie werde skinny mach daraus eine Show
Am Dm7
Wir sind pretty im Bikini das ist Bauch Beine Po
Am Dm Em
Bauch Beine Po BBBauch Beine Po
Am Dm Em Am
Wir sind pretty im Bikini das ist Bauch Beine Po yuh
Am Em
Bauch Beine Po BBBauch Beine Po
Am Am
Geh ins Gymmie werde skinny das ist Bauch Beine Po yuh
End of song Play again?
Shirin David - Bauch Beine Po Tabs
NotesX
Harmony analysis
Shirin David – Bauch Beine Po: key and chord analysis
The song opens on Am and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
- #7 = G# (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 A minor side because it both starts and finishes on Am, Am is heard 36 times against 1 for C and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 |
|---|---|---|---|---|
| I7 | C7 | Chromatic colour chordoutside the key | C · E · G · Bb | 1× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 23× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 1× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 25× |
| V7/vi | E7 | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B · D | 1× |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 36× |
| V7/ii | A7 | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E · G | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 36× |
| V7/iv | A7 | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E · G | 4× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III7 | C7 | Chromatic colour chordoutside the key | C · E · G · Bb | 1× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 23× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 1× |
| v | Em | Minor dominant — soft pull | E · G · B | 25× |
| V7 | E7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B · D | 1× |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 91 times in total; 4 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am. A7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Em Am Ciii → vi Amv → inatural-minor cadence ×22
- E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×1
- Dm Am Cii → vi Amiv → iminor plagal ×1
- Dm7 Am Cii7 → vi Amiv7 → iminor plagal ×1
The move to watch is Em → Am, heard 22 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — 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.
- When E7 comes, swap the scale's G for G#: 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. Am, Em, Dm, A7 carry the song: vi–iii–ii–V7/ii relative to C, i–v–iv–V7/iv relative to Am. A7 is the interesting twist: in C it is a chromatic chord (V7/ii), while in Am it becomes the dominant (V7/iv) that makes the minor side sound so determined. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. The final chord is Am; the ear comes to rest in Am.
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.
Shirin David - Bauch Beine Po 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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