Blok3 - Kayıp Kalp - Chord

Key Db major – Bb minor Chords Fm, Bbm, Ebm Easy key C (capo 1)

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Capo 0

Bbm  Fm  Ebm  Fm
x2

Bbm            Fm
Bitti benim sabrım
        Ebm         Fm
Kaçasın olsa kovalardım seni
        Bbm           Fm
Tek bir bakıştan anlardım
             Ebm             Fm
Şunu bil ama sen bize geç kaldın gülüm

      Bbm          Fm
Böyle yapma gülüm, etme zulüm bize
Ebm               Fm
Sen arada kalınca kalmıyor hiçbir şey
Bbm               Fm
Eskiyi hatırlayıp daldım o geçmişe
Ebm                Fm
Bu gece de içmişim kim bilir kaç şişe

Bbm            Fm
Geliyorsa o da senden gelsin
Ebm              Fm
Bütün hayallerim yandı yokuşlarda
Bbm        Fm
Unutamadım seni, affedersin
Ebm            Fm
Kayıp bir kalp var bu civarlarda
x2

Bbm               Fm
Hakkıma girme kalple oyun olmaz
Ebm             Fm
Sen yine gülme, hiç belli olmaz
Bbm             Fm
Mutlu masalları yaktım gitti
Ebm             Fm
Seninle olmadı, kimseden olmaz

Bbm        Fm
Unutamadım seni afedersin
Ebm              Fm
Ben haklıyım ama sen çok güzelsin
Bbm                 Fm
Başıma belasın, sen ne işe yararsın
Ebm                Fm
Ama geliyorsa o da senden gelsin

Bbm            Fm
Geliyorsa o da senden gelsin
Ebm              Fm
Bütün hayallerim yandı yokuşlarda
Bbm        Fm
Unutamadım seni, affedersin
Ebm            Fm
Kayıp bir kalp var bu civarlarda
x2

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Blok3 - Kayıp Kalp Tabs

NotesX

Harmony analysis

Blok3 – Kayıp Kalp: key and chord analysis

The song opens on Bbm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 13 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	13×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	26×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	—
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	13×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	13×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	13×
v	Fm	Minor dominant — soft pull	F · Ab · C	26×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	—
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	—

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 3 different chords appear 52 times in total; 3 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×12

The move to watch is Fm → Bbm, heard 12 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Ebm, land on Eb, Gb, Bb — 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

Starting on Bbm, the song gives away its key from the very first bar. The chords that keep coming back are Fm, Bbm, Ebm; read them as iii–vi–ii in Db or v–i–iv in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. Ending on Fm, the song seals Db as home.

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.