Emre Nalbantoğlu - Kafamdaki Adamlar - Chord

Key G major – E minor Chords D, Am7, F, G, Am Easy key D (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am7  D  Am7  D

Am7                  D
Bi kız vardı içerken hep anlattığım
Am7             D
Anlatırken kendimi aldattığım
Am7                 D
Uyumadığım bir sürü gecem var benim
Am7                 D
Sarhoş olup aşıkmış gibi davrandığım

Am7                    D
Kendimden kaçıyorum da o hep kovalıyor
Am7              D
Utanmadan aklıma abartılı şeyler karalıyor
Am7                 D
Uykum var lan benim nefesim daralıyor
Am7                  D
Kafamdaki adamlardan kesin biri yanılıyor

Am7  D  Am7  D  Am7  D  Am7  D  F  G  F  G
Am7  D  Am7  D  Am7  D

Am7                   D                          Am
Yorulduğum içmeden de durulduğum günlerim de var aslında
             D                   Am         D
Hikayeler saklıyorum zor günler için, hepsi aklımda
F                   G
Aşağı doğru tırmandığım bi merdivenim var benim
F                    G           Am
Hiç bir şey de anlamıyorum aslında

Am7  D  Am7  D

Am7                    D 
Kendimden kaçıyorum da o hep kovalıyor
Am7               D 
Utanmadan aklıma abartılı şeyler karalıyor
Am7                  D 
Uykum var ulan benim nefesim daralıyor
Am7                  D
Kafamdaki adamlardan kesin biri yanılıyor

Am7  D  Am7  D

Am7                  D
Kafamdaki adamlardan kesin biri yanılıyor

End of song Play again?

Emre Nalbantoğlu - Kafamdaki Adamlar Tabs

NotesX

Harmony analysis

Emre Nalbantoğlu – Kafamdaki Adamlar: key and chord analysis

The song opens on Am7 and ends on D. 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 G major side because G is heard 4 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

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	4×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	27×
ii	Am	Supertonic — prepares the dominant	A · C · E	3×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
III	B	Chromatic colour chordoutside the key	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	29×
vi	Em	Relative minor — the melancholy side	E · G · B	—
bVII	F	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F · A · C	4×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	—
bII	F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C	4×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	4×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	27×
iv	Am	Subdominant — moves away from home	A · C · E	3×
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#	—
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	29×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 67 times in total; 4 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Am7 D Gii7 → Vii → V Emiv7 → VII ×27
F G GbVII → IbVII → I EmbII → III ×4
Am D Gii → Vii → V Emiv → VII ×2

The move to watch is Am7 → D, heard 27 times. From the G side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the Em side it is iv7 → VII. 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.

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 down · capo 5 keeps the original pitch

The song's harmonic story

The opening Am7 lays a solid floor for everything that follows. The backbone is D, Am7, F, G — V–ii7–bVII–I from the G side, VII–iv7–bII–III from the Em side. F briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Am7 → D (ii7 → V in G, iv7 → VII in Em): ii → V — the classic preparation of the dominant. Ending on D, the song seals G as home.

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.