Nev - Sen Gibi - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Bm           A                 Em
Suya yazı yazmak gibi seni sevmek
G     A   F#m   G
Yorgunum üşüyorum
Bm         A           Em
Yanındayım ama yalnız ne çare
G     A   F#m    G
Suskunum huzursuzum  

Em
Gözlerinde uçurumlar
F#m
Korkup da yüzleşmeye
G
Bakışların kaçar gider
A
Gücüm yok yetismeye  

Em
Düğüm düğüm oldu içim
F#m
Ne olur bir sey söyle
G
Sen sustukça içimde
F#       Em      F#
İsyanlar çığlıklar    

Bm       A
Gece avutmuyor
Em      Bm  A   G
Gönlüm unutmuyor
            Em
Dokunduğum hiçbir ten
F#           G  A 
Senin gibi kokmuyor

Bm               A     Em
Avuçlarımda eriyen buz gibisin
        G           A  F#m            G
Damla damla akıp giden umutlarım gibisin
Bm        A         Em
Çaresi derdimden daha zor
G             A      F#m        G
Yüreğimiz yetmiyor, söylesene nerdesin  

C#m       B
Gece avutmuyor
F#m     C#m   B   A
Gönlüm unutmuyor
            F#m
Dokunduğum hiçbir ten
G#           A  B
Senin gibi kokmuyor

A          F#m     G#     C#m   B
Koyamadım kimseyi, yerine sen gibi
A          F#m     G#
Sevemedim kimseyi, içimdeki sen gibi

End of song Play again?

Nev - Sen Gibi Tabs

NotesX

Harmony analysis

Nev – Sen Gibi: key and chord analysis

The song opens on Bm and ends on G#. 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)
#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 opens on Bm, Bm is heard 6 times while D never appears 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii	Em	Supertonic — prepares the dominant	E · G · B	9×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	10×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	3×
IV	G	Subdominant — moves away from home	G · B · D	12×
#IV	G#	Chromatic colour chordoutside the key	G# · B# · D#	3×
V	A	Dominant — strongest pull home	A · C# · E	16×
vi	Bm	Relative minor — the melancholy side	B · D · F#	6×
V/ii	B	Secondary dominant V/ii — leads to Emsecondary dominant	B · D# · F#	4×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—
vii	C#m	Chromatic colour chordoutside the key	C# · E · G#	3×

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	6×
V/iv	B	Secondary dominant V/iv — leads to Emsecondary dominant	B · D# · F#	4×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
ii	C#m	Chromatic colour chordoutside the key	C# · E · G#	3×
III	D	Relative major — the bright side	D · F# · A	—
iv	Em	Subdominant — moves away from home	E · G · B	9×
v	F#m	Minor dominant — soft pull	F# · A · C#	10×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	3×
VI	G	Submediant — warm colour	G · B · D	12×
#VI	G#	Chromatic colour chordoutside the key	G# · B# · D#	3×
VII	A	Subtonic — steps back to the tonic	A · C# · E	16×

Analysis

The key pair is D major and its relative B minor (2 sharps). 9 different chords appear 66 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. B acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

G A DIV → VIV → V BmVI → VIIVI → VII ×6
G Bm DIV → vi BmVI → iVI → i ×2
Em F# Dii → V/vi Bmiv → Viv → V ×2
F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×1
Em Bm Dii → vi Bmiv → iminor plagal ×1
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1

The move to watch is G → A, heard 6 times. From the Bm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the D side it reads IV → V (IV → V: the lift that builds tension before home). 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — 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.
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

Starting on Bm, the song gives away its key from the very first bar. A, G, F#m, Em carry the song: V–IV–iii–ii relative to D, VII–VI–v–iv relative to Bm. B is the interesting twist: in D it is a chromatic chord (V/ii), while in Bm it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on G → A (IV → V in D, VI → VII in Bm): VI → VII — the rising step that heads for the tonic. The final chord is G#; 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.