Sıla - Kötü Kötü - Chord

Key D major – B minor Chords Gmaj7, F#m, Em7, Bm, A, F#7 Easy key C (capo 2)

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Capo 0

F#m                            Gmaj7
Kötü kötü zamanlardayım kötü kötü
Em7                            F#m
Bir kalkıyorum ayağa çoğunlukla ölü

Gmaj7          Em7
Deli deli günlere özlemim çok
Gmaj7         Em7       F#m
Ne güzeldi be tüh artık yok
x2

F#m                           Gmaj7
Aptal aptal gezenlere bayılıyorum
Em7                          F#m
Onlar bihaberler ben daralıyorum

Gmaj7     Em7
Cahilin de havası çok
Gmaj7          Em7      F#m
Bir şansım olsa o da mı yok

Bm
Nasılsın diye sorma
F#m
Ben sorarım kendime
Gmaj7
Kızgın bile değilim
A        F#7        Bm
Sen şarkı diye dinle

F#m                          Gmaj7
Dolu dolu ağladım çok dolu dolu
Em7                    F#m
Bir yaş döküldü yeşili koru

Gmaj7          Em7
Aram hep iyidir kendimlen
Gmaj7      Em7       F#m
Zor alırsın beni benden

Gmaj7          Em7
Aram hep iyidir kendimlen
Gmaj7      Em7       F#m
Nah alırsın beni benden

End of song Play again?

Sıla - Kötü Kötü Tabs

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Harmony analysis

Sıla – Kötü Kötü: key and chord analysis

The song opens on F#m and ends on F#m. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C# (leading tone, pulls home)
4 = G (the note that leans on the 3rd)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)
#7 = A# (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 B minor side because Bm is heard 2 times while D never appears and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	11×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	11×
V7/vi	F#7	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C# · E	1×
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	12×
V	A	Dominant — strongest pull home	A · C# · E	1×
vi	Bm	Relative minor — the melancholy side	B · D · F#	2×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	2×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iv7	Em7	Subdominant — moves away from home	E · G · B · D	11×
v	F#m	Minor dominant — soft pull	F# · A · C#	11×
V7	F#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C# · E	1×
VImaj7	Gmaj7	Submediant — warm colour	G · B · D · F#	12×
VII	A	Subtonic — steps back to the tonic	A · C# · E	1×

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 38 times in total; 5 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm.

Chord movement

F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×1
F#m Bm Diii → vi Bmv → inatural-minor cadence ×1
Gmaj7 A DIVmaj7 → VIV → V BmVImaj7 → VIIVI → VII ×1

The move to watch is F#7 → Bm, heard once. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to Bm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
Over Gmaj7, land on G, B, D — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — 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.
When F#7 comes, swap the scale's A for A#: 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 D major shapes

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The first chord is F#m; the ear learns where home is within a second. Gmaj7, F#m, Em7, Bm carry the song: IVmaj7–iii–ii7–vi relative to D, VImaj7–v–iv7–i relative to Bm. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. Ending on F#m, the song seals D 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.