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)
Suzan Hacıgarip - Üç Kalp - Chord
Key D major – B minor Chords Em, Bm, F#7, D, A, B, C#m Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm Em
Karar ver artık kimi daha çok sevdiğine
A D F#7
Kararsız olma sen üzme herkesi
D Em
Kalbinde kim var o mu yoksa ben miyim
A D F#7
Bilmek isterim yolumu çizeyim
Em A D Em
Sen de üzgünsün bu hayattan hem de nasıl
F#7 Bm B
Bir kalpte iki kalp nasıl yaşanır
Em A D Em
İki kişi seven iki defa ölürmüş
F#7 Bm
Bir kalp yalnız bir kalbi düşünürmüş
Em Bm
Ah sen üzgün ah ben üzgün
C#m F#7 Bm B
O da üzgün yapma herkes de üzgün
Em Bm
Ah sen üzgün ah ben üzgün
C#m F#7 Bm
O da üzgün yapma herkes de üzgün
Bm Em
Gözler beni arar kalbin onu düşünür
A D F#7
Tercih yap sonra üç kalp birden ölür
D Em
Görülmemiştir böyle aşk inan dünyada
A D F#7
Ne biçim sevgi üç kalp bir arada
Em A D Em
Sen de üzgünsün bu hayattan hem de nasıl
F#7 Bm B
Bir kalpte iki kalp nasıl yaşanır
Em A D Em
İki kişi seven iki defa ölürmüş
F#7 Bm
Bir kalp yalnız bir kalbi düşünürmüş
Em Bm
Ah sen üzgün ah ben üzgün
C#m F#7 Bm B
O da üzgün yapma herkes de üzgün
Em Bm
Ah sen üzgün ah ben üzgün
C#m F#7 Bm
O da üzgün yapma herkes de üzgün
End of song Play again?
Suzan Hacıgarip - Üç Kalp Tabs
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Harmony analysis
Suzan Hacıgarip – Üç Kalp: 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, Bm is heard 14 times against 10 for D 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 | 10× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 16× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 12× |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | 8× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 14× |
| 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# | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 14× |
| 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# | 4× |
| III | D | Relative major — the bright side | D · F# · A | 10× |
| iv | Em | Subdominant — moves away from home | E · G · B | 16× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 12× |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 8× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 68 times in total; 4 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#7 is V7/vi, a secondary dominant heading for Bm. B acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A D DV → Iauthentic cadence BmVII → III ×8
- F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×8
- Em A Dii → Vii → V Bmiv → VII ×8
- Em Bm Dii → vi Bmiv → iminor plagal ×4
- Em F#7 Dii → V7/vi Bmiv → V7iv → V ×4
The move to watch is A → D, heard 8 times. From the Bm side it is VII → III; from the D side it reads V → I (authentic cadence: the strongest arrival 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 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.
- Over F#7, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- When F#7 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 first chord is Bm; the ear learns where home is within a second. The backbone is Em, Bm, F#7, D — ii–vi–V7/vi–I from the D side, iv–i–V7–III from the Bm side. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A → D (V → I in D, VII → III in Bm): authentic cadence — the strongest arrival home. It closes on Bm, letting the Bm side have the last word.
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.
Suzan Hacıgarip - Üç Kalp 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: Fecri EbcioğluMusic: Patricia Carli
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