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)
Kolpa - Yatağın Soğuk Tarafı - Chord
Key F major – D minor Chords Am, Bb, Gm, C, Dm, F Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am
Ne zaman unutulduk
Bb
Ne zaman geçmiş zaman
Am Gm
Ne zaman hatırladın adımı ben sormadan
Dm Am
Unutulur elbet her şehir ve her insan
Bb Am
Aldığımız hiçbir nefes bile içimizde kalmıyor inan
Dm Am
Bu kadar fazla uzaklaşmış olamaz yıllar
Bb Am
Bir dokun sen de anlarsın içimdeki kül hala sıcak
Gm F C
Ama çok geç artık bundan sonra
Am Bb
Bırakın ne olursam olayım
Am Bb
Aklım fikrim darmadağın
Gm Bb
Yakıyor elimi ne zaman uzatsam
C Am
Yatağın soğuk tarafı
Am Bb
Hiç kimseye bir sözüm yok
Am Bb
Sana yok, bana yok, hiç kimseye yok
Gm Bb
Yakıyor elimi ne zaman uzatsam
C Am
Yatağın soğuk tarafı
Am Bb
Bir camın buğusuna, arasına kalp koymadan
Am
Yazılmış baş harfler gibiyiz
Gm
Öyle yalnız, öyle sıradan
End of song Play again?
Kolpa - Yatağın Soğuk Tarafı Tabs
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Harmony analysis
Kolpa – Yatağın Soğuk Tarafı: key and chord analysis
The song opens on Am and ends on Gm. Its chords belong to both F major and Dm, so every chord below is read both ways.
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 Dm is heard 2 times against 1 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 1× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 5× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 14× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 10× |
| V | C | Dominant — strongest pull home | C · E · G | 3× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 2× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 2× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 1× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 5× |
| v | Am | Minor dominant — soft pull | A · C · E | 14× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 10× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 3× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 35 times in total; 6 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
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
- Gm Dm Fii → vi Dmiv → iminor plagal ×1
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×1
The move to watch is Bb → C, heard 2 times. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → V (IV → V: the lift that builds tension before home). 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 Am, land on A, C, E — 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.
- Over Gm, land on G, Bb, D — 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. The chords that keep coming back are Am, Bb, Gm, C; read them as iii–IV–ii–V in F or v–VI–iv–VII in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. The final chord is Gm; 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.
Kolpa - Yatağın Soğuk Tarafı 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: Haluk KurosmanMusic: Haluk Kurosman
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