Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
M. Can Asfuroğlu - Ben Kötü Değilim - Chord
Key A major – F# minor Chords F#m, E, A, C#m, Bm7, D, C#m7, Bbm7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
A A C#m7 F#m Bbm7 Bbm7 C#m7
A A C#m7 C#m Bbm7 Bbm7 C#m7
A
Yine yazdım yazdım çizdim attım
C#m
Bir şarkıda daha seni anlattım
Bm7 C#m
İnsanlar der boşver aman
A
Yine sordum baktım ah kara bahtım
C#m
Umutlarımla seni aldattım
Bm7 C#m F#m
Akmaz durur sensiz zaman
D F#m
Dualarım kabul olmuyor ama ben kötü değilim
C#m F#m
Her işte bir hayır var demeye de hiç hazır değilim
D F#m
Herkes akıllı sanıyor ama ben saf deliyim
E C#m F#m
Zaten başka bir açıklaması olmaz böyle sevmenin
A E Bm7
Sırtımı verip sana güvenmeli miyim
D E F#m
Bir hançer daha saplasan ölüme gider miyim
A E Bm7
Hayallerim ellerinde son nefesini verirken
D E F#m
Ben yine bir nankörü sever/seçer miyim
E Bm7 F#m
Ben aptalım yine seni severim
A
Yine suçlayamadım kendime kızdım
C#m
Hatalarımdan kuleler yaptım
Bm7 F#m C#m
Bizi affettim desem yalan
D F#m
Dualarım kabul olmuyor ama ben kötü değilim
C#m F#m
Her işte bir hayır var demeye de hiç hazır değilim
D F#m
Herkes akıllı sanıyor ama ben saf deliyim
E C#m F#m
Zaten başka bir açıklaması olmaz böyle sevmenin
A E Bm7
Sırtımı verip sana güvenmeli miyim
D E F#m
Bir hançer daha saplasan ölüme gider miyim
A E Bm7
Hayallerim ellerinde son nefesini verirken
D E F#m
Ben yine bir nankörü sever/seçer miyim
E Bm7 F#m
Ben aptalım yine seni severim
F#m Bm7 D F#m
Dualarım hayal kalıyor artık iyi değilim
End of song Play again?
M. Can Asfuroğlu - Ben Kötü Değilim Tabs
NotesX
Harmony analysis
M. Can Asfuroğlu – Ben Kötü Değilim: key and chord analysis
The song opens on A and ends on F#m. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because it comes to rest on F#m, it opens on A and F#m is heard 19 times against 11 for A. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 | A | Tonic — home | A · C# · E | 11× |
| bii7 | Bbm7 | Chromatic colour chordoutside the key | Bb · Db · F · Ab | 4× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 10× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 11× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 4× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 9× |
| V | E | Dominant — strongest pull home | E · G# · B | 12× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 19× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 19× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 11× |
| #iii7 | Bbm7 | Chromatic colour chordoutside the key | Bb · Db · F · Ab | 4× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 10× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 11× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 4× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 9× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 12× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 8 different chords appear 80 times in total; 7 of them sit naturally inside the shared scale. Bbm7 step outside the scale as colour chords.
Chord movement
- C#m F#m Aiii → vi F#mv → inatural-minor cadence ×5
- D F#m AIV → vi F#mVI → iVI → i ×5
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×4
- D E AIV → VIV → V F#mVI → VIIVI → VII ×4
- Bm7 F#m Aii7 → vi F#miv7 → iminor plagal ×3
- C#m7 F#m Aiii7 → vi F#mv7 → inatural-minor cadence ×1
The move to watch is C#m → F#m, heard 5 times. From the F#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the A side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over F#m, land on F#, A, C# — 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.
- Over A, land on A, C#, E — 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is A; the ear learns where home is within a second. The chords that keep coming back are F#m, E, A, C#m; read them as vi–V–I–iii in A or i–VII–III–v in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. Ending on F#m, the song seals F#m 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.
M. Can Asfuroğlu - Ben Kötü Değilim 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: M. Can AsfuroğluMusic: M. Can Asfuroğlu
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