Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Gökcan Sanlıman - Üç Kalp - Chord
Key C major – A minor Chords Am, Dm, E7, G, C, F Easy key G (capo 5)
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Key: C | Am
Capo: 0
Dm Am E7 Am
Am Dm
Karar ver artık kimi daha çok sevdiğine
G C
Kararsız olma sen üzme herkesi
Am Dm
Kalbinde kim var o mu yoksa ben miyim
G C
Bilmek isterim yolumu çizeyim
Dm G C F
Sen de üzgünsün bu hayattan hem de nasıl
Dm E7 Am
Bir kalpte iki kalp nasıl yaşanır
Dm G C F
İki kişi seven iki defa ölürmüş
Dm E7 Am
Bir kalp yalnız bir kalbi düşünürmüş
Dm Am
Ah sen üzgün ah ben üzgün
E7 Am
O da üzgün yapma herkes de üzgün
Dm Am
Ah sen üzgün ah ben üzgün
E7 Am
O da üzgün yapma herkes çok üzgün
Dm Am E7 Am
Am Dm
Gözler beni arar kalbin onu düşünür
G C
Tercih yap sonra üç kalp birden ölür
Am Dm
Görülmemiştir böyle aşk inan dünyada
G C
Ne biçim sevgi üç kalp bir arada
Dm G C F
Sen de üzgünsün bu hayattan hem de nasıl
Dm E7 Am
Bir kalpte iki kalp nasıl yaşanır
Dm G C F
İki kişi seven iki defa ölürmüş
Dm E7 Am
Bir kalp yalnız bir kalbi düşünürmüş
Dm Am
Ah sen üzgün ah ben üzgün
E7 Am
O da üzgün yapma herkes de üzgün
Dm Am
Ah sen üzgün ah ben üzgün
E7 Am
O da üzgün yapma herkes çok üzgün
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Gökcan Sanlıman - Üç Kalp Tabs
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Harmony analysis
Gökcan Sanlıman – Üç Kalp: key and chord analysis
The song opens on Dm and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
- #7 = G# (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 A minor side because it comes to rest on Am, Am is heard 20 times against 8 for C and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | 8× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 18× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V7/vi | E7 | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B · D | 10× |
| IV | F | Subdominant — moves away from home | F · A · C | 4× |
| V | G | Dominant — strongest pull home | G · B · D | 8× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 20× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 20× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 8× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 18× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V7 | E7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B · D | 10× |
| VI | F | Submediant — warm colour | F · A · C | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 8× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 68 times in total; 5 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am.
Chord movement
- E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×10
- G C CV → Iauthentic cadence AmVII → III ×8
- Dm G Cii → Vii → V Amiv → VII ×8
- Dm Am Cii → vi Amiv → iminor plagal ×6
- Dm E7 Cii → V7/vi Amiv → V7iv → V ×4
The move to watch is E7 → Am, heard 10 times. From the Am side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V7/vi → vi (secondary resolution: E7 resolves a fourth up to Am). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over E7, land on E, G#, B — the chord's own tones always sound right on strong beats.
- When E7 comes, swap the scale's G for G#: 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. Am, Dm, E7, G carry the song: vi–ii–V7/vi–V relative to C, i–iv–V7–VII relative to Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on E7 → Am (V7/vi → vi in C, V7 → i in Am): harmonic-minor cadence — the major V resolves dramatically. Ending on Am, the song seals Am 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.
Gökcan Sanlıman - 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: Carli PatriciaMusic: Carli PatriciaArrangement: Alper Atakan
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