Kalben - Bir Nefes Gibi (Nükhet Duru) - Chord

Key D major – B minor Chords Bm, F#m, Em, A, D, G, B Easy key C (capo 2)

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Capo 0

D          A            Bm         F#m
Bir mektup yazdım sana, bir resim, bir çiçek
Em                 Bm  F#m
Bir de gözyaşı var içinde
D          A            Bm       F#m
Bir mektup yazdım sana, ellerim, gözlerim
Em              Bm  F#m   Bm
Bütün umutlarım içinde, sevgilim

G              Bm
Aç bak, ne çok özlemişim seni
Em    A          D
İçimde bir nefes gibi
G             Bm
Aç bak, nasıl saklamışım seni
Em     A        D
İçimde bir nefes gibi

Em             Bm
Aç bak, ne çok özlemişim seni
F#m                Bm  B
İçimde bir nefes gibi
Em            Bm
Aç bak, nasıl saklamışım seni
A      F#m         Bm
İçimde bir nefes gibi

D          A            Bm       F#m
Bir mektup yazdım sana, ellerim, gözlerim
Em                  Bm  F#m
Bir de şarkımız var içinde
D          A           Bm       F#m
Bir mektup yazdım sana ellerim, gözlerim
Em              Bm  F#m   Bm
Bütün umutlarım içinde, sevgilim

G              Bm
Aç bak, ne çok özlemişim seni
Em     A         D
İçimde bir nefes gibi
G             Bm
Aç bak, nasıl saklamışım seni
Em     A         D
İçimde bir nefes gibi

Em             Bm
Aç bak, ne çok özlemişim seni
F#m                Bm  B
İçimde bir nefes gibi
Em            Bm
Aç bak, nasıl saklamışım seni
A      F#m         Bm
İçimde bir nefes gibi

A      F#m         Bm
İçimde bir nefes gibi

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Kalben - Bir Nefes Gibi (Nükhet Duru) Tabs

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Harmony analysis

Kalben – Bir Nefes Gibi (Nükhet Duru): key and chord analysis

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

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)

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, it opens on D and Bm is heard 23 times against 8 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	8×
ii	Em	Supertonic — prepares the dominant	E · G · B	12×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	13×
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	11×
vi	Bm	Relative minor — the melancholy side	B · D · F#	23×
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	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	23×
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	8×
iv	Em	Subdominant — moves away from home	E · G · B	12×
v	F#m	Minor dominant — soft pull	F# · A · C#	13×
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	11×

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 73 times in total; 6 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Em Bm Dii → vi Bmiv → iminor plagal ×8
F#m Bm Diii → vi Bmv → inatural-minor cadence ×7
A D DV → Iauthentic cadence BmVII → III ×4
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×4
G Bm DIV → vi BmVI → iVI → i ×4
Em A Dii → Vii → V Bmiv → VII ×4

The move to watch is Em → Bm, heard 8 times. From the Bm side it is iv → i (minor plagal: deep and melancholic); from the D side it reads ii → 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
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.

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

The opening D lays a solid floor for everything that follows. Bm, F#m, Em, A carry the song: vi–iii–ii–V relative to D, i–v–iv–VII relative to Bm. B adds a moment of surprise: secondary dominant V/ii — leads to Em. Keep an ear on Em → Bm (ii → vi in D, iv → i in Bm): minor plagal — deep and melancholic. 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.