Nahide Babaşlı - Kalbi Taş - Chord

Key D major – B minor Chords Bm, A, Em, D, G, B7 Easy key G (capo 7)

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Capo 0

Bm  Em  A  D  Bm

     Bm                 Em
Bilirsin, gidersen, nereye diye sormam
  A                     D
Gözün arkada kalsın, kendime iyi bakmam

      Em               Bm
Bir veda istemem, hoşcakal diyemem
   A                  D      B7 
Sanma ben bu yolu, yalnız gidemem

      Em               Bm
Bir veda istemem, hoşcakal diyemem
   A                  Bm
Sanma ben bu yolu, yalnız gidemem

   Em
Söyle şimdi ne olacak
    Bm
Yerimi kim dolduracak
   Em
Çürümüş, yazık kalbim
    Bm
Nereye kadar susacak
   A
Belki çok ağlayacak
   Bm
Belki kan kusacak
    A                  G   A      Bm
Gün gelecek hepsinin hesabını soracak

Em  Bm  Em  Bm  A  Bm  A  G  A  Bm

   Bm                 Em
Vicdanın sızlasın vefasız, kalbi taş
    A                D
Sen de benim gibi mahfol yavaş yavaş

    Em                    Bm
Giderken sarılmam, korkma hiç darılmam
      A              Bm
Ben seni bitirdim, arkandan ağlamam

   Em
Söyle şimdi ne olacak
    Bm
Yerimi kim dolduracak
   Em
Çürümüş, yazık kalbim
    Bm
Nereye kadar susacak
   A
Belki çok ağlayacak
   Bm
Belki kan kusacak
    A                  G   A      Bm
Gün gelecek hepsinin hesabını soracak

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Nahide Babaşlı - Kalbi Taş Tabs

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Harmony analysis

Nahide Babaşlı – Kalbi Taş: 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.

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 both starts and finishes on Bm and Bm is heard 21 times against 4 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	4×
ii	Em	Supertonic — prepares the dominant	E · G · B	12×
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#	—
IV	G	Subdominant — moves away from home	G · B · D	3×
V	A	Dominant — strongest pull home	A · C# · E	15×
vi	Bm	Relative minor — the melancholy side	B · D · F#	21×
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	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	21×
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	4×
iv	Em	Subdominant — moves away from home	E · G · B	12×
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#	—
VI	G	Submediant — warm colour	G · B · D	3×
VII	A	Subtonic — steps back to the tonic	A · C# · E	15×

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 56 times in total; 5 of them sit naturally inside the shared scale. B7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Em Bm Dii → vi Bmiv → iminor plagal ×9
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×8
A D DV → Iauthentic cadence BmVII → III ×4
Em A Dii → Vii → V Bmiv → VII ×3
G A DIV → VIV → V BmVI → VIIVI → VII ×3
B7 Em DV7/ii → iisecondary resolution BmV7/iv → iv ×1

The move to watch is Em → Bm, heard 9 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 A, land on A, C#, E — 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

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on Bm, the song gives away its key from the very first bar. Bm, A, Em, D carry the song: vi–V–ii–I relative to D, i–VII–iv–III relative to Bm. B7 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. 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.