Sıla - Kapkara - Chord

Key Bb major – G minor Chords D, Cm, Gm, Am, Cdim, Eb Easy key C

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Capo 0

D  Cm  D  Cm

D       Cm      D
Küskünüm şarkılara
D    Cm      D
Cilveli sancılara
D       Cm       D
Derdime döndüm dolaştım
D     Cm      D
Takıldım mı ağlara

Gm
Peşimde gece yine
D
Bırak deli mi ne
Cm           D
Gönlümü alamazsın

Gm
Dün işte aynı gün
D
Bugün de aynı gün
Cm       Am        D
Hiç beni kandıramazsın
Cm       Am        D
Sen beni kandıramazsın

D
Nasıl kapkara, lazımım ben bana
                Cm
N'olur ellerimi bırak
Cdim
Gönlüm delik deşik
Eb
150 bin kesik
Cm              D
N'olur ellerimi bırak

D     Cm     D
Zaafımdır bilirsin
       Cm     D
Başımı belaya sokmak
      Cm       D
Girilmez yazan tenhanın
       Cm        D
İlle de tozun' attırmak

Gm
Peşimde gece yine
D
Bırak deli mi ne
Cm           D
Gönlümü alamazsın

Gm
Dün işte aynı gün
D
Bugün de aynı gün
Cm       Am        D
Hiç beni kandıramazsın
Cm       Am        D
Sen beni kandıramazsın

D
Nasıl kapkara, lazımım ben bana
                Cm
N'olur ellerimi bırak
Cdim
Gönlüm delik deşik
Eb
150 bin kesik
Cm              D
N'olur ellerimi bırak

End of song Play again?

Sıla - Kapkara Tabs

NotesX

Harmony analysis

Sıla – Kapkara: key and chord analysis

The song opens on D and ends on D. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (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 G minor side because Gm is heard 4 times while Bb never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	20×
ii°	Cdim	Chromatic colour chordoutside the key	C · Eb · Gb	2×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	29×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	2×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	4×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
vii	Am	Chromatic colour chordoutside the key	A · C · E	4×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	4×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
ii	Am	Chromatic colour chordoutside the key	A · C · E	4×
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	20×
iv°	Cdim	Chromatic colour chordoutside the key	C · Eb · Gb	2×
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	29×
VI	Eb	Submediant — warm colour	Eb · G · Bb	2×
VII	F	Subtonic — steps back to the tonic	F · A · C	—

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 61 times in total; 3 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm. Am, Cdim step outside the scale as colour chords.

Chord movement

Cm D Bbii → V/vi Gmiv → Viv → V ×14
D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×4

The move to watch is Cm → D, heard 14 times. From the Gm side it is iv → V (iv → V: the minor side's tension builder); from the Bb side it reads ii → V/vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The opening D lays a solid floor for everything that follows. The chords that keep coming back are D, Cm, Gm, Am; read them as V/vi–ii–vi–vii in Bb or V–iv–i–ii in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Cm → D (ii → V/vi in Bb, iv → V in Gm): iv → V — the minor side's tension builder. The final chord is D; the ear comes to rest in Bb.

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.