Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Manuş Baba - Bu Havada Gidilmez - Chord
Key Ab major – F minor Chords Fm, Bbm, Eb, Cm, Db, C, Ab Easy key C
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Key: Ab | Fm
Capo: 0
Bbm Fm Eb Db Cm
Fm Bbm Fm Eb Db Cm Fm
Bbm Fm
Beni bırakıp gitme bir yere
Eb Db Cm Fm
Gidersen unutursun, dilerim böyle olmaz
Bbm Fm
Bu havada gidilmez, güneşli günde gidilmez
C Fm Ab
Aslında hiç gidilmez, gidilmez
Bbm Fm
Bu havada gidilmez, güneşli günde gidilmez
C Fm
Aslında hiç gidilmez
Bbm Fm Eb
Son günüme kadar, kalp durana kadar
Cm Fm Bbm
Aşk mezara kadar, sakın ha gitme
Bbm Fm Eb
Son günüme kadar, kalp durana kadar
Cm Fm
Aşk mezara kadar
Bbm Fm Eb Db Cm
Fm Bbm Fm Eb Db Cm Fm
Bbm Fm
Beni unutma, unutama inşallah
Eb Db Cm Fm
Unutursan kahrolurum, dilerim öyle olmaz
Bbm Fm
Bu baharda gidilmez, yağmurlarda gidilmez
C Fm Ab
Aslında hiç gidilmez, gidilmez
Bbm Fm
Bu baharda gidilmez, güneşli günde gidilmez
C Fm
Aslında hiç gidilmez
End of song Play again?
Manuş Baba - Bu Havada Gidilmez Tabs
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Harmony analysis
Manuş Baba – Bu Havada Gidilmez: key and chord analysis
The song opens on Bbm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
- #7 = E (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 F minor side because it comes to rest on Fm, Fm is heard 24 times against 2 for Ab and the major V chord points straight at Fm. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | 2× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 13× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 8× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 4× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 8× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 24× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 24× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 2× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 13× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 8× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | 4× |
| VI | Db | Submediant — warm colour | Db · F · Ab | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 8× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 65 times in total; 6 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C is V/vi, a secondary dominant heading for Fm.
Chord movement
- Bbm Fm Abii → vi Fmiv → iminor plagal ×12
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×8
- C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×4
The move to watch is Bbm → Fm, heard 12 times. From the Fm side it is iv → i (minor plagal: deep and melancholic); from the Ab side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- When C comes, swap the scale's Eb for E: 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. The backbone is Fm, Bbm, Eb, Cm — vi–ii–V–iii from the Ab side, i–iv–VII–v from the Fm side. C is the interesting twist: in Ab it is a chromatic chord (V/vi), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bbm → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. Ending on Fm, the song seals Fm 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.
Manuş Baba - Bu Havada Gidilmez 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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