Sibel Can - Bize Has - Chord

Key D major – B minor Chords Bm, F#7, Em, Gmaj7 Easy key C (capo 2)

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Capo 0

Bm                    Em
Çok çabuk olalım, yanacaksak yanalım
    Gmaj7 
Dönüşü yok geçiyo her şey
            F#7
Pişmanlık kalıyor

Bm              Em
Demedim mi sana ah defalarca
     Gmaj7
Sakladın beni gizledin bizi
                F#7
Ne bekledim ben oysa

Em                F#7            Bm
İçin titremedi mi var mı bilen biri
Em                          Bm
O da mı sırrımız o da gizli mi
Em              F#7              Bm
Sallarken elini boşluğa düşmedin mi
Em                       Bm
O da mı yalnız bende bir his mi

     Em                F#7
Beni yüreğine yüreğine yaz
             Bm
Buluşuruz bi yaz
     Gmaj7   F#7           Bm
Yine aşık oluruz, aşk bize has

     Em            F#7
Beni aklına aklına yaz
             Bm
Hatıralarına yaz
     Gmaj7        F#7      Bm
Yine ayrılırız hasret bize has

     Em                F#7
Beni yüreğine yüreğine yaz
             Bm
Buluşuruz bi yaz
     Gmaj7   F#7           Bm
Yine aşık oluruz, aşk bize has

     Em            F#7
Beni aklına aklına yaz
             Bm
Hatıralarına yaz
     Gmaj7        F#7      Bm
Yine ayrılırız hasret bize has

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Sibel Can - Bize Has Tabs

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Harmony analysis

Sibel Can – Bize Has: key and chord analysis

The song opens on Bm and ends on Bm. 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)
#7 = A# (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 B minor side because it both starts and finishes on Bm, Bm is heard 14 times while D never appears and the major V chord points straight at Bm. 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	10×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
V7/vi	F#7	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C# · E	12×
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	6×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	14×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	14×
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	10×
v	F#m	Minor dominant — soft pull	F# · A · C#	—
V7	F#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C# · E	12×
VImaj7	Gmaj7	Submediant — warm colour	G · B · D · F#	6×
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). 4 different chords appear 42 times in total; 3 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm.

Chord movement

F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×11
Em F#7 Dii → V7/vi Bmiv → V7iv → V ×6
Em Bm Dii → vi Bmiv → iminor plagal ×2

The move to watch is F#7 → Bm, heard 11 times. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over F#7, land on F#, A#, C# — 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.
When F#7 comes, swap the scale's A for A#: 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 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
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. The backbone is Bm, F#7, Em, Gmaj7 — vi–V7/vi–ii–IVmaj7 from the D side, i–V7–iv–VImaj7 from the Bm side. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Bm; the ear comes to rest in Bm.

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.