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)
Şəbnəm Tovuzlu - Bade - Chord
Key D major – B minor Chords F#m7, Em7, A, G, Bm, B Easy key C (capo 2)
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Key: D | Bm
Capo: 0
F#m7 Em7 F#m7
Heç düşünməzdim məni, səndə atarsan
A G F#m7
Heç düşünməzdim məni, özgə sanarsan
A G
Nələr oldu, nələr səbəb, bilmədim əsla
Em7 Em7 F#m7
Heç düşünməzdim məni, gözdən atarsan
Bm Em7 F#m7
Götürüm badə içim, bəlkə silim adın dilimdən
A B Em7
Götürüm badə içim, nifrət edim sənə dərindən
G
Nələri yaşatmısan sən, mənə ey insafsız adam
F#m7 Bm
Götürüm badə içim, qəmim qəm üstədir əlindən
F#m7 Em7 F#m7
Belə bilsəm sənə, bel bağlamazdım
A G F#m7
Sənin üçün ürəyimdə yer saxlamazdım
A G
Gəncliyimlə oynadın, heyif ola məndən
Em7 Em7 F#m7
Kaş səni heç zaman bağışlamazdım
Bm Em7 F#m7
Götürüm badə içim, bəlkə silim adın dilimdən
A B Em7
Götürüm badə içim, nifrət edim sənə dərindən
G
Nələri yaşatmısan sən, mənə ey insafsız adam
F#m7 Bm
Götürüm badə içim, qəmim qəm üstədir əlindən
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Şəbnəm Tovuzlu - Bade Tabs
NotesX
Harmony analysis
Şəbnəm Tovuzlu – Bade: key and chord analysis
The song opens on F#m7 and ends on Bm. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because it comes to rest on Bm and Bm is heard 4 times while D never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 10× |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 12× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 6× |
| V | A | Dominant — strongest pull home | A · C# · E | 6× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 4× |
| V/ii | B | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# | 2× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 4× |
| V/iv | B | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# | 2× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 10× |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 12× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 6× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 6× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 40 times in total; 5 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F#m7 Bm Diii7 → vi Bmv7 → inatural-minor cadence ×4
The move to watch is F#m7 → Bm, heard 4 times. From the Bm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii7 → vi. 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 F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — 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 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
Starting on F#m7, the song gives away its key from the very first bar. F#m7, Em7, A, G carry the song: iii7–ii7–V–IV relative to D, v7–iv7–VII–VI relative to Bm. B adds a moment of surprise: secondary dominant V/ii — leads to Em. Keep an ear on F#m7 → Bm (iii7 → vi in D, v7 → i in Bm): natural-minor cadence — gentle, modal arrival. It closes on Bm, letting the Bm 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.
Şəbnəm Tovuzlu - Bade 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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Lyrics: Rouhollah KhodadadMusic: Rouhollah KhodadadArrangement: İsmayıl Əlizadə
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