Hadise - Baksana Bana - Chord

Key F major – D minor Chords Dm, A7, Gm, C7, F, Fmaj7, Bbmaj7, Eb … Easy key C (capo 5)

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Capo 0

A7

Gm         C7
Hey hey baksana bana
Fmaj7         Bbmaj7
Onu mu buldun bula bula
Eb        A7                    Dm   C       F   Dm
Böyle mi söz vermiştin bir zamanlar, söyle bana

Gm         C7
Hey hey baksana bana
Fmaj7         Bbmaj7
Onu mu buldun bula bula
Eb         A7             Dm
Git görünme gözüme artık sen, istemem

Dm                         Gm
Göremezsin, hiç sevemezsin bir daha sen beni
C7                         F        A7
Gelemezsin, hiç dönemezsin sen bana geri

Dm                         Gm
Göremezsin, hiç sevemezsin bir daha sen beni
C7                           F  A7
Gelemezsin, hiç dönemezsin geri

Gm         C7
Hey hey baksana bana
Fmaj7         Bbmaj7
Onu mu buldun bula bula
Eb        A7                    Dm   C       F   Dm
Böyle mi söz vermiştin bir zamanlar, söyle bana

Gm         C7
Hey hey baksana bana
Fmaj7         Bbmaj7
Onu mu buldun bula bula
Eb         A7             Dm
Git görünme gözüme artık sen, istemem

Dm                         Gm
Duyan olsa, bir gören olsa ne olur halim
C7                         F        A7
Hani yalnız, benim için çarpardı kalbin

Dm                         Gm
Duyan olsa, bir gören olsa ne olur halim
C7                            F   A7
Hani yalnız, benim için çarpar kalbin

End of song Play again?

Hadise - Baksana Bana Tabs

NotesX

Harmony analysis

Hadise – Baksana Bana: key and chord analysis

The song opens on A7 and ends on A7. 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)
#7 = C# (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 D minor side because the major V chord points straight at Dm. 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×
Imaj7	Fmaj7	Tonic — home	F · A · C · E	4×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	8×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	9×
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	4×
V7	C7	Dominant — strongest pull home	C · E · G · Bb	8×
V	C	Dominant — strongest pull home	C · E · G	2×
vi	Dm	Relative minor — the melancholy side	D · F · A	10×
bVII	Eb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Eb · G · Bb	4×
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	10×
bII	Eb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Eb · G · Bb	4×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	6×
IIImaj7	Fmaj7	Relative major — the bright side	F · A · C · E	4×
iv	Gm	Subdominant — moves away from home	G · Bb · D	8×
v	Am	Minor dominant — soft pull	A · C · E	—
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	9×
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	4×
VII7	C7	Subtonic — steps back to the tonic	C · E · G · Bb	8×
VII	C	Subtonic — steps back to the tonic	C · E · G	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 9 different chords appear 55 times in total; 7 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm. Eb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Gm C7 Fii → V7ii → V Dmiv → VII7 ×8
A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×6
C7 Fmaj7 FV7 → Imaj7authentic cadence DmVII7 → IIImaj7 ×4
C7 F FV7 → Iauthentic cadence DmVII7 → III ×4
C F FV → Iauthentic cadence DmVII → III ×2

The move to watch is Gm → C7, heard 8 times. From the Dm side it is iv → VII7; from the F side it reads ii → V7 (ii → V: the classic preparation of the dominant). 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over A7, land on A, C#, E — 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.
When A7 comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
On Eb, follow the chord's notes (Eb · G · Bb) rather than the key's scale — it's a borrowed colour.

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

Starting on A7, the song gives away its key from the very first bar. The chords that keep coming back are Dm, A7, Gm, C7; read them as vi–V7/vi–ii–V7 in F or i–V7–iv–VII7 in Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gm → C7 (ii → V7 in F, iv → VII7 in Dm): ii → V — the classic preparation of the dominant. It closes on A7, 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.