Sezen Aksu - Kalp Unutmaz - Chord

Key F major – D minor Chords Dm, Gm, Bb, Am, F Easy key G

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Capo 0

Dm           Bb         Gm
Çok zaman geçmesi gerek aradan
Dm           Bb    Gm
Akşamdan sabaha onaramam ki
Dm            Bb     Gm
Boş kalırsa durur atmaz ki bu kalp
    Dm      Bb     Gm
O zaman ben nefes alamam ki

Dm               Bb     Gm     Dm
Onu yeni bir masala inandırmalıyım
           Bb    Gm     Dm
Hatta bi süre kandırmalıyım
         Bb       Gm     Dm
Akarsuda iki kere yıkanılmaz
           Bb    Gm     Dm
Yüzünü yarına döndürmeliyim

Dm
Bir daha, bir daha dener miyim hiç
Gm              Am
Bir daha geriye döner miyim

Dm               Bb
Araya girenleri, el sürenleri
Gm          Am
Ben unutsam kalp unutmaz
F          Bb                Gm
İhanetle vurulmuş biri bir daha
              Am
Öncesi gibi kanatlanamaz

Dm               Bb
Kendimi korumaya aldım
  Gm       Dm              Bb      Gm      Dm
Bana bu aşkın olmuş olabilecek tek faydası bu
               Bb       Gm   Dm 
Bastığım yerin ayağımın altından
          Gm               Dm
Kızgın kumlar gibi kayması bu

Dm               Bb     Gm     Dm
Onu yeni bir masala inandırmalıyım
           Bb    Gm     Dm
Hatta bi süre kandırmalıyım
         Bb       Gm     Dm
Akarsuda iki kere yıkanılmaz
           Bb    Gm     Dm
Yüzünü yarına döndürmeliyim

Dm
Bir daha, bir daha dener miyim hiç
Gm              Am
Bir daha geriye döner miyim

Dm               Bb
Araya girenleri, el sürenleri
Gm          Am
Ben unutsam kalp unutmaz
F          Bb                Gm
İhanetle vurulmuş biri bir daha
              Am
Öncesi gibi kanatlanamaz

End of song Play again?

Sezen Aksu - Kalp Unutmaz Tabs

NotesX

Harmony analysis

Sezen Aksu – Kalp Unutmaz: key and chord analysis

The song opens on Dm and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it opens on Dm and Dm is heard 23 times against 2 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	2×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	22×
iii	Am	Mediant — a tonic-family shade	A · C · E	6×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	19×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	23×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	23×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	2×
iv	Gm	Subdominant — moves away from home	G · Bb · D	22×
v	Am	Minor dominant — soft pull	A · C · E	6×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	19×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 72 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

Gm Dm Fii → vi Dmiv → iminor plagal ×16
Am Dm Fiii → vi Dmv → inatural-minor cadence ×3

The move to watch is Gm → Dm, heard 16 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. Dm, Gm, Bb, Am carry the song: vi–ii–IV–iii relative to F, i–iv–VI–v relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. The final chord is Am; the ear comes to rest in F.

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.