Nil İpek - Havada Bir Hinlik Var - Chord

Key G major – E minor Chords D, Em, C, G Difficulty already in its easiest key

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Capo 0

Em         D       Em         D
Bir şeyler yolunda değil besbelli
Em       D        Em         D
Bir gudubetlik var işte besbelli
Em    G             D
Senden değil, benden değil
Em     D  Em    D
Kimden    belli değil

C       D           Em  D
Havada bir hinlik var
C          D          Em  D
Bir yerde bir eksik var
C           D        Em  D
Tarifi zor bir şey var
    C          Em
Havada bir hinlik var

Em        D      Em        D
Nedendir bilinmez bir sıkıntı var
Em       D     Em        D
Yağan yağmurdan, esen yelden mi
Em    G             D
Şundan değil, bundan değil
Em    D  Em    D
Neden    belli değil

C       D           Em  D
Havada bir hinlik var
C          D          Em  D
Bir yerde bir eksik var
C           D        Em  D
Tarifi zor bir şey var
    C          Em
Havada bir hinlik var

Em         D     Em    D
Derin bir nefes alsam geçecek
Em        D      Em      D
Belki de sonsuza kadar sürecek
Em     D      Em    D
Nereden gelir, nasıl gider
Em   D      Em
Nedir, ne değildir

C       D           Em  D
Havada bir hinlik var
C          D          Em  D
Bir yerde bir eksik var
C           D        Em  D
Tarifi zor bir şey var
    C          Em
Havada bir hinlik var

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Nil İpek - Havada Bir Hinlik Var Tabs

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Harmony analysis

Nil İpek – Havada Bir Hinlik Var: key and chord analysis

The song opens on Em and ends on Em. Its chords belong to both G major and Em, so every chord below is read both ways.

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F# (leading tone, pulls home)
4 = C (the note that leans on the 3rd)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it both starts and finishes on Em and Em is heard 34 times against 2 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	2×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	12×
V	D	Dominant — strongest pull home	D · F# · A	39×
vi	Em	Relative minor — the melancholy side	E · G · B	34×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	34×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	2×
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	12×
VII	D	Subtonic — steps back to the tonic	D · F# · A	39×

Analysis

The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 87 times in total; 4 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

D Em GV → videceptive cadence EmVII → iAeolian arrival ×28
C D GIV → VIV → V EmVI → VIIVI → VII ×9
C Em GIV → vi EmVI → iVI → i ×3

The move to watch is D → Em, heard 28 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over D, land on D, F#, A — 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 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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are D, Em, C, G; read them as V–vi–IV–I in G or VII–i–VI–III in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. Ending on Em, the song seals Em as home.

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.