Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
İlyas Yalçıntaş - Nefes - Chord
Key A major – F# minor Chords F#m, D, Bm, E, Db Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m D F#m D Db
F#m D
Kelebek kadar ömrümüz var
F#m Bm Db
Sevmek lazım, hemen başlayalım
F#m D
Kaybedecek daha neyimiz var
F#m D Db
Aşk için ne gerekiyorsa hepsi bende var
F#m E
Nefes bile almadan
F#m E
Nefes bile almadan
Bm E
Nefes bile almadan
F#m
Seviyorum seni
F#m D
Sarmaşıklar gibi sardın kalbimi
F#m Bm Db
Değiştirdin kanımı koydun zehrini
F#m D
Örümcek gibi ördün zihnimi
F#m Bm Db
Düşündükce daha çok isterim seni
F#m E
Nefes bile almadan
F#m E
Nefes bile almadan
Bm E
Nefes bile almadan
F#m
Seviyorum seni
F#m Bm E F#m
İçimde dolaşan alkol gibi
Bm F#m D Db
Sana gitgide sarhoş oluyorum
F#m Bm E F#m
Ruhumu kaybetmiş gibi
Bm F#m D Db
Sadece senin için yaşıyorum
End of song Play again?
İlyas Yalçıntaş - Nefes Tabs
NotesX
Harmony analysis
İlyas Yalçıntaş – Nefes: key and chord analysis
The song opens on F#m and ends on Db. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
- #7 = E# (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 F# minor side because it opens on F#m, F#m is heard 22 times while A never appears and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 9× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | Db | Secondary dominant V/vi — leads to F#msecondary dominant | Db · F · Ab | 7× |
| IV | D | Subdominant — moves away from home | D · F# · A | 9× |
| V | E | Dominant — strongest pull home | E · G# · B | 8× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 22× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 22× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 9× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | Db | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Db · F · Ab | 7× |
| VI | D | Submediant — warm colour | D · F# · A | 9× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 8× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 55 times in total; 4 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same Db is V/vi, a secondary dominant heading for F#m.
Chord movement
- Db F#m AV/vi → vi F#mV → iharmonic-minor cadence ×6
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×6
- D F#m AIV → vi F#mVI → iVI → i ×5
- Bm E Aii → Vii → V F#miv → VII ×4
- Bm Db Aii → V/vi F#miv → Viv → V ×3
- Bm F#m Aii → vi F#miv → iminor plagal ×2
The move to watch is Db → F#m, heard 6 times. From the F#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the A side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — 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 Db comes, swap the scale's E for E#: 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is F#m; the ear learns where home is within a second. F#m, D, Bm, E carry the song: vi–IV–ii–V relative to A, i–VI–iv–VII relative to F#m. Db is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Db → F#m (V/vi → vi in A, V → i in F#m): harmonic-minor cadence — the major V resolves dramatically. The final chord is Db; the ear comes to rest in A.
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.
İlyas Yalçıntaş - Nefes 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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