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)
Rey Valera - Kahit Maputi Na Ang Buhok Ko - Chord
Key F major – D minor Chords Am, Gm, C, F, Bb, Am7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
F Am Gm C
F
Kung tayo ay matanda na
Am Gm C
Sana'y 'di tayo magbago
F Am
Kailanman, nasaan ma'y
Gm C
Ito ang pangarap ko
Am Am7 Bb Gm
Makuha mo pa kayang ako'y hagkan at yakapin, hmm
Bb C F
Hanggang pagtanda natin
Bb Gm Am
Nagtatanong lang sa'yo ako pa kaya'y ibigin mo
Bb C F Am Gm C
Kung maputi na ang buhok ko
F Am
Pagdating ng araw ang 'yong buhok
Gm C
Ay puputi na rin
F Am
Sabay tayong mangangarap
Gm C
Ng nakaraan sa'tin
Am Am7 Bb Gm
Ang naklipas ay ibabalik natin, hmmm
Bb C F
papaalala ko sa'yo
Bb Gm Am
Ang aking pangako na'ng pag-ibig ko'y lagi sa'yo
Bb C F
Kahit maputi na ang buhok ko
Am Gm C F
Am Am7 Bb Gm
Ang naklipas ay ibabalik natin, hmmm
Bb C F
papaalala ko sa'yo
Bb Gm Am
Ang aking pangako na'ng pag-ibig ko'y lagi sa'yo
Bb C F
Kahit maputi na ang buhok ko
Am Gm C F
End of song Play again?
Rey Valera - Kahit Maputi Na Ang Buhok Ko Tabs
NotesX
Harmony analysis
Rey Valera – Kahit Maputi Na Ang Buhok Ko: key and chord analysis
The song opens on F and ends on F. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F major side because it both starts and finishes on F and F is heard 13 times while Dm never appears. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 13× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 14× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 14× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 3× |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 12× |
| V | C | Dominant — strongest pull home | C · E · G | 14× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 13× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 14× |
| v | Am | Minor dominant — soft pull | A · C · E | 14× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 3× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 12× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 14× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 70 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
- C F FV → Iauthentic cadence DmVII → III ×12
- Gm C Fii → Vii → V Dmiv → VII ×8
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×6
The move to watch is C → F, heard 12 times. From the F side it reads V → I (authentic cadence: the strongest arrival home); from the Dm side it is VII → III. 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 Am, 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.
- Over C, land on C, E, G — 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 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
The opening F lays a solid floor for everything that follows. The backbone is Am, Gm, C, F — iii–ii–V–I from the F side, v–iv–VII–III from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. It closes on F, 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.
Rey Valera - Kahit Maputi Na Ang Buhok Ko 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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