Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Nazan Öncel - Hay Hay (Tarkan) - Chord
Key Db major – Bb minor Chords A#m, F, D#m, G#, C# Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
A#m F
O senin neyin olur derlerse
A#m
Gülüm olur balım olur diyeceğim
F
O senin neyin olur derlerse
A#m
Sevgilim sevgilim diyeceğim
A#m D#m
O benim kalbimi isterse
G# C#
Seve seve veririm diyeceğim
F
Kedisini köpeğini, dolaptaki ceketini
Papucunu terliğini, duvardaki resmini
A#m F A#m
Ne varsa alsın toplasın gelsin
F A#m
Benim için gelsin isterse kalsın
F
Hay hay buyursun gelsin
A#m
Hay hay temelli kalsın
F
Hay hay buyursun gelsin
A#m
Hay hay beni seven gelsin
A#m F
O senin neyin olur derlerse
A#m
Gözüm olur yaşım olur diyeceğim
F
O senin neyin olur derlerse
A#m
Yazım olur kışım olur diyeceğim
A#m D#m
O bunun aksini söylerse
G# C#
Bir bildiği vardır diyeceğim
F
Kedisini köpeğini, dolaptaki ceketini
Papucunu terliğini, duvardaki resmini
End of song Play again?
Nazan Öncel - Hay Hay (Tarkan) Tabs
NotesX
Harmony analysis
Nazan Öncel – Hay Hay (Tarkan): key and chord analysis
The song opens on A#m and ends on F. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (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 Bb minor side because it opens on Bbm, Bbm is heard 13 times against 2 for Db and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | C# | Tonic — home | C# · E# · G# | 2× |
| ii | D#m | Supertonic — prepares the dominant | D# · F# · A# | 2× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to A#msecondary dominant | F · A · C | 10× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | G# | Dominant — strongest pull home | G# · B# · D# | 2× |
| vi | A#m | Relative minor — the melancholy side | A# · C# · E# | 13× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | A#m | Tonic — home | A# · C# · E# | 13× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | C# | Relative major — the bright side | C# · E# · G# | 2× |
| iv | D#m | Subdominant — moves away from home | D# · F# · A# | 2× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | 10× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| VII | G# | Subtonic — steps back to the tonic | G# · B# · D# | 2× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 29 times in total; 4 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm.
Chord movement
- F A#m DbV/vi → vi BbmV → iharmonic-minor cadence ×9
- G# C# DbV → Iauthentic cadence BbmVII → III ×2
- D#m G# Dbii → Vii → V Bbmiv → VII ×2
The move to watch is F → A#m, heard 9 times. From the Bbm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
- When F comes, swap the scale's Ab 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is A#m; the ear learns where home is within a second. A#m, F, D#m, G# carry the song: vi–V/vi–ii–V relative to Db, i–V–iv–VII relative to Bbm. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → A#m (V/vi → vi in Db, V → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. It closes on F, letting the Db 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.
Nazan Öncel - Hay Hay (Tarkan) 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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