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)
Yıldız Tilbe - Aşk Bir Kahkaha - Chord
Key D major – B minor Chords F#m, Em, A, Bm, G, D Easy key C (capo 2)
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Key: D | Bm
Capo: 0
F#m
Koca bir yaz geçti beni dinlendirmedi
Em F#m G
Ne güneş ne deniz ne de aşk
F#m
Tadını almadım sevdiğim bir çok şeyin
Em F#m G
Bir perde vardı göremediğim
D Bm
Bazen öyle dalgalandım ki kabıma sığamadım
A G
Bazen de öyle sakindim ki kıpırdamadım
Bm F#m Em
Bazen uçar gibi bazen hapis gibi
A G
Özgür ve tutsak
F#m Em
Aşk için aşka küs biraz şikayetçi
A
Neşeli kederli
Bm F#m Em A
Aşk bir kahkaha senden duyunca daha güzel
Em F#m
Sevmek bir dokunuş bu sen olunca özel
Bm F#m Em A
Aşk bir kahkaha senden duyunca daha güzel
Em F#m
Sevmek bir dokunuş bu sen olunca özel
A Em D
Kışın ortasında lapa lapa kar yağarken
A Em F#m
Aşkınla başım sarhoş elin elimde ne hoş
F#m Em D
Tek bildiğim şey en çok seni sevdiğim
F#m Em F#m
Beni bana unutturan ve hatırlatan sensin
Bm F#m
Mucizelere sebep sensin
A F#m
Şükürler olsun benimlesin
End of song Play again?
Yıldız Tilbe - Aşk Bir Kahkaha Tabs
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Harmony analysis
Yıldız Tilbe – Aşk Bir Kahkaha: key and chord analysis
The song opens on F#m and ends on F#m. 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 Bm is heard 5 times against 3 for D. 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 | 3× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 12× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 16× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 4× |
| V | A | Dominant — strongest pull home | A · C# · E | 8× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 5× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 5× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 3× |
| iv | Em | Subdominant — moves away from home | E · G · B | 12× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 16× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 4× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 8× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 48 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
- Em A Dii → Vii → V Bmiv → VII ×4
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×2
- G D DIV → Iplagal cadence BmVI → III ×1
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1
- G Bm DIV → vi BmVI → iVI → i ×1
The move to watch is Em → A, heard 4 times. From the Bm side it is iv → VII; from the D side it reads ii → V (ii → V: the classic preparation of the dominant). 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#m, land on F#, A, C# — 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 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#m, the song gives away its key from the very first bar. F#m, Em, A, Bm carry the song: iii–ii–V–vi relative to D, v–iv–VII–i relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → A (ii → V in D, iv → VII in Bm): ii → V — the classic preparation of the dominant. The final chord is F#m; the ear comes to rest in D.
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.
Yıldız Tilbe - Aşk Bir Kahkaha 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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