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)
Yıldız Tilbe - Kalbimden Çıkmıyorsun - Chord
Key C major – A minor Chords Am, Dm7, Em7, Fmaj7, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Fmaj7 Dm7 Em7
Am Fmaj7
Özlüyorum istiyorum
Em7 Dm7 Fmaj7
Gelmiyorsun sevmiyorsun
G
Yalan değil yasak değil
Dm7 Am
Neden kalbimden çıkmıyorsun
Am Fmaj7
İnanamam gözlerine
Dm7 Em7 Am
Sözlerin kandırır bile bile lades
Fmaj7 Dm7
Beni sevmen için seni sevmek için
Em7 Am
Kendimden vazgeçmedim mi ben
Em7
İlk pişman ben değilim
Dm7
Son düşman da olamam
Em7 Fmaj7 Am
Bundan sonra seninle kalamaaaam
Em7 Dm7 Am
Bundan sonra seninle kalamam
Am Fmaj7
Korkmuyorsun kaybetmekten
Em7 Dm7 Fmaj7
Bekliyorsun istenmeyi
G
Hata değil yanlış değil
Dm7 Am
Neden yanımdan gidiyorsun
Am Fmaj7
Utanırım gecelerden
Dm7 Em7 Am
Hasretin sarılır, düşlerim dağıtır
Fmaj7 Dm7
Telefona gider aranan ellerim
Em7 Am
Sen kimsin, ben kimim, neydik biz
Em7
İlk pişman ben değilim
Dm7
Son düşman da olamam
Em7 Fmaj7 Am
Bundan sonra seninle kalamaaaam
Em7 Dm7 Am
Bundan sonra seninle kalamam
End of song Play again?
Yıldız Tilbe - Kalbimden Çıkmıyorsun Tabs
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Harmony analysis
Yıldız Tilbe – Kalbimden Çıkmıyorsun: key and chord analysis
The song opens on Am 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it both starts and finishes on Am and Am is heard 15 times while C never appears. 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 | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 13× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 13× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 11× |
| V | G | Dominant — strongest pull home | G · B · D | 2× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 15× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 15× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 13× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 13× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 11× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 2× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 54 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
- Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×5
- Dm7 Am Cii7 → vi Amiv7 → iminor plagal ×4
- Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×2
- Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×2
The move to watch is Em7 → Am, heard 5 times. From the Am side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi. 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Am lays a solid floor for everything that follows. The chords that keep coming back are Am, Dm7, Em7, Fmaj7; read them as vi–ii7–iii7–IVmaj7 in C or i–iv7–v7–VImaj7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am (iii7 → vi in C, v7 → i in Am): natural-minor cadence — gentle, modal arrival. 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.
Yıldız Tilbe - Kalbimden Çıkmıyorsun 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: Yıldız TilbeMusic: Yıldız TilbeArrangement: Esad Fidan , İbrahim Küçükoğlu
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