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)
Nil Karaibrahimgil - Hakkında Her Şeyi Duymak İstiyorum - Chord
Key D major – B minor Chords F#, Em, Bm, D, A, G, B7 Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm F# D Em F#
Bm
Dur dur dur dur dur
F# D
Bakma öyle bakma öyle
Em F#
Çık damarımdan
Bm
Yok yok yok yok
F# D
Yapma böyle yapma böyle
Em F#
Gitmem yanından
Bm
Tak tak tak
F# D
Çalma öyle gelme böyle
Em F#
Dön kapımdan
Bm
Cık cık cık
F# D
Deme öyle onu söyleme
Em F#
Kork cevabımdan
Em A
Hakkında her şeyi duymak istiyorum
D G
Bu aşk değil de nedir
Em F# Bm B7
Aklımda hep yine görmek yine öpmek filan
Em A
Her şeyi tek tek anlat istiyorum
D G
Bu aşk değilde nedir
Em F# Bm
Aklımda hep yine görmek yine öpmek filan
Em A D G Em F# Bm
Bm
Güm güm güm güm
F# D
Atma kalbim atma şöyle
Em F#
Duyulur dışarıdan
Bm
Çok çok çok çok çok
F# D
İsteme çok isteme
Em F#
Koparız hayattan
Bm
Tak tak tak
F# D
Çalma öyle gelme böyle
Em F#
Dön kapımdan
Bm
İçine çekme şekli
F# D
Kokma şöyle kokma böyle
Em F#
Çık rüzgarımdan
Em A
Hakkında her şeyi duymak istiyorum
D G
Bu aşk değil de nedir
Em F# Bm
Aklımda hep yine görmek yine öpmek filan
Em A
Her şeyi tek tek anlat istiyorum
D G
Bu aşk değilde nedir
Em F# Bm
Aklımda hep yine görmek yine öpmek filan
Em A D G Em F# Bm
Em A
Senden önce her şeyi silmek istiyorum
D G
Bu aşk değilde nedir
Em F# Bm
Aklımda hep yine görmek yine öpmek filan
End of song Play again?
Ritim: V1: A - A Y Y A Y
Nil Karaibrahimgil - Hakkında Her Şeyi Duymak İstiyorum Tabs
NotesX
Harmony analysis
Nil Karaibrahimgil – Hakkında Her Şeyi Duymak İstiyorum: key and chord analysis
The song opens on Bm 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)
- #7 = A# (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 B minor side because it both starts and finishes on Bm and the major V chord points straight at Bm. 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 | 16× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 23× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 25× |
| IV | G | Subdominant — moves away from home | G · B · D | 7× |
| V | A | Dominant — strongest pull home | A · C# · E | 7× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 16× |
| V7/ii | B7 | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# · A | 1× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 16× |
| V7/iv | B7 | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# · A | 1× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 16× |
| iv | Em | Subdominant — moves away from home | E · G · B | 23× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 25× |
| VI | G | Submediant — warm colour | G · B · D | 7× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 7× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 95 times in total; 5 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# is V/vi, a secondary dominant heading for Bm. B7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Em F# Dii → V/vi Bmiv → Viv → V ×16
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×14
- A D DV → Iauthentic cadence BmVII → III ×7
- Em A Dii → Vii → V Bmiv → VII ×7
- B7 Em DV7/ii → iisecondary resolution BmV7/iv → iv ×1
The move to watch is Em → F#, heard 16 times. From the Bm side it is iv → V (iv → V: the minor side's tension builder); from the D side it reads ii → V/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#, 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- When F# comes, swap the scale's A for A#: 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 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 Bm lays a solid floor for everything that follows. The chords that keep coming back are F#, Em, Bm, D; read them as V/vi–ii–vi–I in D or V–iv–i–III in Bm. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Em → F# (ii → V/vi in D, iv → V in Bm): iv → V — the minor side's tension builder. The final chord is Bm; the ear comes to rest in Bm.
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.
Nil Karaibrahimgil - Hakkında Her Şeyi Duymak İstiyorum 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: Nil KaraibrahimgilMusic: Nil Karaibrahimgil
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