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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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

NotesX

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.

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)

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.

Seen from F major
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	—

Seen from D minor
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.