Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Fikret Kızılok - Bu Kalp Seni Unutur mu - Chord
Key G major – E minor Chords D, C, Am, G, Bm Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Am D C D
Yıllar geçse de üstünden, bu kalp seni unutur mu
Am D C D
Kader gibi istemeden, bu kalp seni unutur mu
G D
Bir hasretlik yüzün vardı
C D
İçinde bir hüzün vardı, söyleyecek sözüm vardı
C Bm Am
Bu kalp seni unutur mu, bu kalp seni unutur mu
D
Kalbim seni unutur mu
Am D C D
Anlamı yok tüm sözlerin sensiz geçen gecelerin
Am D C D
Yaşanacak senelerin bu kalp seni unutur mu
G D
Bambaşka bir halin vardı
C D
Farketmeden beni sardı, benliğimi benden aldı
C Bm Am
Bu kalp seni unutur mu, bu kalp seni unutur mu
D
Kalbim seni unutur mu
Am D C D
Bana aşkı veren sendin sonra alıp giden sendin
Am D C D
Yollarımız ayrı derdin bu kalp seni unutur mu
G D
Oysa düşlerim başkaydı
C D
Birden bire yarım kaldı, benliğimi benden aldı
C Bm Am
Bu kalp seni unutur mu, bu kalp seni unutur mu
D
Kalbim seni unutur mu
Am D C D
Her gün akşam yastığımda üşüyorum yokluğunda
Am D C D
Yaşıyorum boşluğunda bu kalp seni unutur mu
End of song Play again?
Fikret Kızılok - Bu Kalp Seni Unutur mu Tabs
NotesX
Harmony analysis
Fikret Kızılok – Bu Kalp Seni Unutur mu: key and chord analysis
The song opens on Am and ends on D. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G major side because G is heard 3 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | 3× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 11× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 3× |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 14× |
| V | D | Dominant — strongest pull home | D · F# · A | 25× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 3× |
| iv | Am | Subdominant — moves away from home | A · C · E | 11× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 3× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 14× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 25× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 56 times in total; 5 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
- Am D Gii → Vii → V Emiv → VII ×11
- C D GIV → VIV → V EmVI → VIIVI → VII ×11
- D G GV → Iauthentic cadence EmVII → III ×3
The move to watch is Am → D, heard 11 times. From the G side it reads ii → V (ii → V: the classic preparation of the dominant); from the Em side it is iv → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Am; the ear learns where home is within a second. The chords that keep coming back are D, C, Am, G; read them as V–IV–ii–I in G or VII–VI–iv–III in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. The final chord is D; the ear comes to rest in G.
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.
Fikret Kızılok - Bu Kalp Seni Unutur mu 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: Fikret KızılokMusic: Özkan Samioğlu
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