Demet Akalın - Koltuk - Chord

Key D major – B minor Chords F#m, G, A, Bm, Em Easy key C (capo 2)

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Capo 0

F#m                              A
Yok anladım bize karada ayrılık yok
Bm             G         Em           F#m
Buralarda benden başka kürkçü dükkanı yok
F#m                                     A
Hani bizi tanıştıranlar mutsuzken ortada yok
Bm           G             Em      F#m
Bizde böyle aşkın şiddeti merhamet yok

Bm        F#m    Bm      F#m
Bir yuva dedik içine aşk ektik
Bm           F#m         G        F#m
3 de çocuk istedik kavgadan vakit yok

F#m    G      F#m
Evde sıcacık yatak
F#m        G          F#m
İstemezsen koltuk da rahat
  A   Em        A  G
Yeter ki yanımda kal
  Em       A    G    F#m
Ya da bizi baştan yarat

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Demet Akalın - Koltuk Tabs

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Harmony analysis

Demet Akalın – Koltuk: key and chord analysis

The song opens on F#m and ends on F#m. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C# (leading tone, pulls home)
4 = G (the note that leans on the 3rd)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the B minor side because Bm is heard 5 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
ii	Em	Supertonic — prepares the dominant	E · G · B	4×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	13×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	7×
V	A	Dominant — strongest pull home	A · C# · E	5×
vi	Bm	Relative minor — the melancholy side	B · D · F#	5×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	5×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iv	Em	Subdominant — moves away from home	E · G · B	4×
v	F#m	Minor dominant — soft pull	F# · A · C#	13×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	7×
VII	A	Subtonic — steps back to the tonic	A · C# · E	5×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 34 times in total; 5 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

F#m Bm Diii → vi Bmv → inatural-minor cadence ×3
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×2
Em A Dii → Vii → V Bmiv → VII ×2

The move to watch is F#m → Bm, heard 3 times. From the Bm side it is v → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
Over F#m, land on F#, A, C# — 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.
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 D major shapes

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on F#m, the song gives away its key from the very first bar. The chords that keep coming back are F#m, G, A, Bm; read them as iii–IV–V–vi in D or v–VI–VII–i in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → Bm (iii → vi in D, v → i in Bm): natural-minor cadence — gentle, modal arrival. It closes on F#m, letting the D 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.