KÖFN - Kavgası Çok - Chord

Key G major – E minor Chords Em7, Bm7, D, C, Am7, Em Easy key C (capo 7)

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Capo 0

Em  D  C

C               D
Unutma sakın ola senin adın yaz günü
Em7              D
Solar mı sandın hiç yüzünün gülü
Am7                Bm7
Aşk diye bir şey var, güzel anlattın
Am7           Bm7         C
Ben de dersimi güzel almışım

Em7    Bm7      D                           Em7  Am7  Bm7  
Kavgası çok, inanır inanır yine sana her zerrem
Em7    Bm7      D                                 Em7  Am7  Bm7
Faydası yok, döner dolaşır yine seni bulur her yerdeeeen
Em7    Bm7      D                           Em7  Bm7  C  D 
Kavgası çok inanır inanır yine sana her zerrem
Em7    Bm7      D                                 Em7  Bm7  C     D  Em7
Faydası yok döner dolaşır yine seni bulur her yerdeeeeeen,  kavgası çok

C        D               Em7        Bm7
Ben seni mavi hatırlarım, okur gibi bir şiiri
C         D             Em7        Bm7      C    D
Yüzümü sende tamamlarım, papatyalar ve Japon çiçeği

Em7  Am7  Bm7  Em7  Am7  Bm7

Em7    Bm7      D                           Em7  Am7  Bm7  
Kavgası çok, inanır inanır yine sana her zerrem
Em7    Bm7      D                                 Em7  Am7  Bm7
Faydası yok, döner dolaşır yine seni bulur her yerdeeeen
Em7    Bm7      D                           Em7  Am7  Bm7 
Kavgası çok inanır inanır yine sana her zerrem
Em7    Bm7      D                                 Em7  Am7  Bm7      C
Faydası yok döner dolaşır yine seni bulur her yerdeeeeeen,  kavgası çok

C  D  Em7  Bm7  C  D  Em7  Bm7

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KÖFN - Kavgası Çok Tabs

NotesX

Harmony analysis

KÖFN – Kavgası Çok: key and chord analysis

The song opens on Em and ends on Bm7. Its chords belong to both G major and Em, so every chord below is read both ways.

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)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it opens on Em and Em is heard 25 times while G never appears. 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	10×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	24×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	11×
V	D	Dominant — strongest pull home	D · F# · A	18×
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	24×
vi	Em	Relative minor — the melancholy side	E · G · B	1×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	24×
i	Em	Tonic — home	E · G · B	1×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv7	Am7	Subdominant — moves away from home	A · C · E · G	10×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	24×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	11×
VII	D	Subtonic — steps back to the tonic	D · F# · A	18×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 88 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

D Em7 GV → vi7deceptive cadence EmVII → i7Aeolian arrival ×16
C D GIV → VIV → V EmVI → VIIVI → VII ×8
Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×7
C Em7 GIV → vi7 EmVI → i7VI → i ×1

The move to watch is D → Em7, heard 16 times. From the Em side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi7 (deceptive cadence: expected G, lands on Em). 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — 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 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 opening Em lays a solid floor for everything that follows. The backbone is Em7, Bm7, D, C — vi7–iii7–V–IV from the G side, i7–v7–VII–VI from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em7 (V → vi7 in G, VII → i7 in Em): Aeolian arrival — rises a whole tone into home. It closes on Bm7, letting the G 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.