Öykü Gürman - Nefesim Yetmez - Chord

Key A major – F# minor Chords C#7, Dmaj7, Bm, F#m Easy key C

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Capo 0

C#7      Dmaj7
Ah hu sevdaluk
Bm       C#7
Ah bu sevdaluk
          Dmaj7
Yüreğum dağulur
Bm       C#7
Gözlerum ağlar

C#7     Dmaj7
Anlat Karadeniz
Bm        C#7
Günahın yazılmaz
         Dmaj7
Sevduğun dile düşer
Bm       C#7
Düşer de yanmaz

F#m
Bu benum senden
Dmaj7        C#7
Kaçuncu nefesum
F#m 
Bu benum senden
Bm            C#7
Kaçıncı ölüşüm söyle

C#7  Dmaj7  Bm  C#7
 
C#7             Dmaj7
Dağların dumani hiç geçit vermez
Bm               Dmaj7  C#7
Dalgalar alur da geriye vermez
                 Dmaj7
Nefesum haramdur yangunum dinmez
Bm      Dmaj7   Bm      C#7
Anlat Karadeniz nefesum yetmez

C#7             Dmaj7
Dağların dumani hiç geçit vermez
Bm               Dmaj7  C#7
Dalgalar alur da geriye vermez
                 Dmaj7
Nefesum haramdur yangunum dinmez
Bm      Dmaj7   Bm      C#7
Anlat Karadeniz nefesum yetmez

End of song Play again?

Öykü Gürman - Nefesim Yetmez Tabs

NotesX

Harmony analysis

Öykü Gürman – Nefesim Yetmez: key and chord analysis

The song opens on C#7 and ends on C#7. Its chords belong to both A major and F#m, so every chord below is read both ways.

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)

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 F#m is heard 2 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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii	Bm	Supertonic — prepares the dominant	B · D · F#	12×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
V7/vi	C#7	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G# · B	16×
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	14×
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	2×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	2×
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#	12×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V7	C#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G# · B	16×
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	14×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 44 times in total; 3 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 C#7 is V7/vi, a secondary dominant heading for F#m.

Chord movement

Bm C#7 Aii → V7/vi F#miv → V7iv → V ×8
C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×2

The move to watch is Bm → C#7, heard 8 times. From the F#m side it is iv → V7 (iv → V: the minor side's tension builder); from the A side it reads ii → V7/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 C#7, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
Over Dmaj7, 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 C#7 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 opening C#7 lays a solid floor for everything that follows. C#7, Dmaj7, Bm, F#m carry the song: V7/vi–IVmaj7–ii–vi relative to A, V7–VImaj7–iv–i relative to F#m. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Bm → C#7 (ii → V7/vi in A, iv → V7 in F#m): iv → V — the minor side's tension builder. The final chord is C#7; 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.