Kolpa - Ölünmüyor Mutsuzluktan - Chord

Key C major – A minor Chords Am, Dm, E, F, G, Dm7, Em Difficulty already in its easiest key

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Capo 0

Am
Söz geçmiyor ki zamana akıyor aldırmadan

Bakma sen bana canım her türlü yaşıyor insan
Dm7                                 Am
Kah dikilir durur, kah diz çöker ömrüm aşkın önünde
        G            F       Em         Am
Eğilecekse başım senden olsun canın sağ olsun

F   G

Am
Kah aradım kendimi, kah kayboldum boşlukta
Dm                          E
Sen yokken denedim kaç kere ölünmüyor mutsuzluktan
Am
Kah aradım kendimi, kah kayboldum boşlukta
Dm                          E
Sen yokken denedim kaç kere ölünmüyor mutsuzluktan

Am   Am   Am   Dm   Am

Am
Dile gelip konuşmazlar sırdaşımdır duvarlar

Hesabım kendimle hiç kimse duymayacak
Dm7
Kah vazgeçtim kendimden, kah gülümsedim
 Am
Doğan güne böyledir yaşamak
       G             F      Em        Am
Eğilecekse başım senden olsun canın sağ olsun

Am
Kah aradım kendimi, kah kayboldum boşlukta
Dm                          E
Sen yokken denedim kaç kere ölünmüyor mutsuzluktan
Am
Kah aradım kendimi, kah kayboldum boşlukta
Dm                          E
Sen yokken denedim kaç kere ölünmüyor mutsuzluktan

Am   F   Dm   E
              Ölünmüyor mutsuzluktan

Am                   F
Ah denedim olmuyor, ah denedim olmuyor
Dm             E
Ah denedim, ölünmüyor mutsuzluktan
Am                   F
Ah denedim olmuyor, ah denedim olmuyor
Dm            E
Ah denedim, ölünmüyor mutsuzluktan

Am
Kah aradım kendimi, kah kayboldum boşlukta
Dm                          E
Sen yokken denedim kaç kere ölünmüyor mutsuzluktan
Am
Kah aradım kendimi, kah kayboldum boşlukta
Dm                          E                      Am
Sen yokken denedim kaç kere ölünmüyor mutsuzluktan

End of song Play again?

Kolpa - Ölünmüyor Mutsuzluktan Tabs

NotesX

Harmony analysis

Kolpa – Ölünmüyor Mutsuzluktan: 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.

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)

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 both starts and finishes on Am, Am is heard 20 times while C never appears 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	10×
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	2×
iii	Em	Mediant — a tonic-family shade	E · G · B	2×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	9×
IV	F	Subdominant — moves away from home	F · A · C	6×
V	G	Dominant — strongest pull home	G · B · D	3×
vi	Am	Relative minor — the melancholy side	A · C · E	20×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
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	—
iv	Dm	Subdominant — moves away from home	D · F · A	10×
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	2×
v	Em	Minor dominant — soft pull	E · G · B	2×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	9×
VI	F	Submediant — warm colour	F · A · C	6×
VII	G	Subtonic — steps back to the tonic	G · B · D	3×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 52 times in total; 6 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 E is V/vi, a secondary dominant heading for Am.

Chord movement

E Am CV/vi → vi AmV → iharmonic-minor cadence ×9
Dm E Cii → V/vi Amiv → Viv → V ×9
Dm7 Am Cii7 → vi Amiv7 → iminor plagal ×2
Em Am Ciii → vi Amv → inatural-minor cadence ×2
G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
Dm Am Cii → vi Amiv → iminor plagal ×1

The move to watch is E → Am, heard 9 times. From the Am side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V/vi → 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
When E 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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. The backbone is Am, Dm, E, F — vi–ii–V/vi–IV from the C side, i–iv–V–VI from the Am side. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → Am (V/vi → vi in C, V → 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.