Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Son Feci Bisiklet - Kötü Şeyler - Chord
Key G major – E minor Chords Em, B, G, Am, C, Dm Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Em Am B Em
Em Am B Em
Kötü Şeyler, kötü şeyler olabilirmiş, olsun
Em Am B Em
Yalnız insan, daha yalnız kalabilirmiş, kalsın
Em Am B Em
Mavi şeyler, kırmızıya çalabilirmiş, çalsın
Am B Em
Kader utan, kader utansın
G B Em C G
Anlamasan bile bu oyunu oynamak zorundasın,
B Em
Oynamak zorundasın
G B Em C G
Bilmesen bile belki bugün oyunun başındasın,
B Em
Belki sonundasın
Dm Em
Napalım biz de böyleyiz
Dm Em
İki günah bir tövbeyiz.
G G G
G B Em C G B Em
G B Em C G B Em
End of song Play again?
Son Feci Bisiklet - Kötü Şeyler Tabs
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Harmony analysis
Son Feci Bisiklet – Kötü Şeyler: key and chord analysis
The song opens on Em and ends on Em. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
- #7 = D# (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 E minor side because it both starts and finishes on Em, Em is heard 20 times against 11 for G and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | 11× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 5× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 13× |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| v | Dm | Chromatic colour chordoutside the key | D · F · A | 2× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 20× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 20× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 11× |
| iv | Am | Subdominant — moves away from home | A · C · E | 5× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 13× |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
| vii | Dm | Chromatic colour chordoutside the key | D · F · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 55 times in total; 4 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B is V/vi, a secondary dominant heading for Em. Dm step outside the scale as colour chords.
Chord movement
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×13
- Am B Gii → V/vi Emiv → Viv → V ×5
- C G GIV → Iplagal cadence EmVI → III ×4
The move to watch is B → Em, heard 13 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- When B comes, swap the scale's D for D#: 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Em; the ear learns where home is within a second. The backbone is Em, B, G, Am — vi–V/vi–I–ii from the G side, i–V–III–iv from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. It closes on Em, letting the Em side have the last word.
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.
Son Feci Bisiklet - Kötü Şeyler 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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