Emre Nalbantoğlu - Koca Kafa - Chord

Key A major – F# minor Chords Dmaj7, F#m7, C#m7, Bm7, E, A, C#7 Easy key C

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Capo 0

Dmaj7  Dmaj7  C#m7  F#m7
x4
Bır bır bır vır vır vay
Ey vıdı vıdı ey
Bır bır bır vır vır vay

Dmaj7               C#m7         F#m7
Bu benim koca kafam sığmaz bi’ yere
Dmaj7              C#m7    F#m7
Çok sopa yedik ama uymaz düzene
Dmaj7               C#m7       F#m7
Bu benim koca kafam susmaz konuşur
Dmaj7               C#m7      F#m7
Saklanır kuytuda kendiyle boğuşur

Dmaj7               C#m7       F#m7
Bu benim koca kafam kılçık ayıklar
Dmaj7             C#m7        F#m7
Doğruyu bilir ama yanlış sayıklar
Dmaj7               C#m7    F#m7
Bu benim koca kafam gece uyutmaz
Dmaj7            C#m7     F#m7
Bazen yola düşer izi bulunmaz

          Dmaj7    Bm7
Koca kafa sal beni 
           F#m7  E  A          C#7
Bas tatile git     (bır bır bır bır)
          Dmaj7     Bm7
Koca kafa kalk hadi 
             F#m7  E  A  C#7
Git ilacını iç

          Dmaj7    Bm7
Koca kafa baksana
               F#m7  E  A  C#7
Çıkıp hava alsana      (vay)
          Dmaj7    Bm7
Koca kafa sussana 
           F#m7  E  A  C#7
İşine baksana

Dmaj7        C#m7  F#m7
Dır dır dır dır dır dır dır dır
Dmaj7         C#m7  F#m7
Rav rav rav rav rav bağ bağ rav
Dmaj7         C#m7  F#m7
Vır vır dır dır dır vır dır dır dır dır dır
Dmaj7     C#m7  F#m7
       Bak hala konuşuyo’ bak hala hala hala

Dmaj7               C#m7      F#m7
Bu benim koca kafam belayı bulur
Dmaj7              C#m7      F#m7
Okyanusta yüzer yağmurda boğulur
Dmaj7               C#m7       F#m7
Bu benim koca kafam hep başa döner
Dmaj7            C#m7       F#m7
Aynı soruyu alır bi’ daha çözer (hımm hımm) 

Dmaj7               C#m7       F#m7
Bu benim koca kafam koşturur beni
Dmaj7              C#m7       F#m7
Yorgunum bilir ama coşturur beni
Dmaj7               C#m7     F#m7
Bu benim koca kafam ikna edilmez
Dmaj7              C#m7      F#m7
Her şeyi o bilir topuna girilmez

          Dmaj7    Bm7
Koca kafa sal beni 
           F#m7  E  A          C#7
Bas tatile git     (bır bır bır bır)
          Dmaj7     Bm7
Koca kafa kalk hadi 
             F#m7  E  A  C#7
Git ilacını iç

          Dmaj7    Bm7
Koca kafa baksana
               F#m7  E  A  C#7
Çıkıp hava alsana      (vay)
          Dmaj7    Bm7
Koca kafa sussana 
           F#m7  E  A  C#7
İşine baksana

Dmaj7        C#m7  F#m7
Dır dır dır dır dır dır dır dır
Dmaj7         C#m7  F#m7
Rav rav rav rav rav bağ bağ rav
Dmaj7         C#m7  F#m7
Vır vır dır dır dır vır dır dır dır dır dır
Dmaj7     C#m7  F#m7
       Bak hala konuşuyo’ bak hala hala hala

End of song Play again?

Emre Nalbantoğlu - Koca Kafa Tabs

NotesX

Harmony analysis

Emre Nalbantoğlu – Koca Kafa: key and chord analysis

The song opens on Dmaj7 and ends on F#m7. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)
#7 = E# (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 F# minor side because it comes to rest on F#m, F#m is heard 33 times against 8 for A and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	8×
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	8×
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	25×
V7/vi	C#7	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G# · B	8×
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	34×
V	E	Dominant — strongest pull home	E · G# · B	8×
vi7	F#m7	Relative minor — the melancholy side	F# · A · C# · E	33×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i7	F#m7	Tonic — home	F# · A · C# · E	33×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	8×
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	8×
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	25×
V7	C#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G# · B	8×
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	34×
VII	E	Subtonic — steps back to the tonic	E · G# · B	8×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 124 times in total; 6 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C#7 is V7/vi, a secondary dominant heading for F#m.

Chord movement

C#m7 F#m7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×25
E A AV → Iauthentic cadence F#mVII → III ×8
Bm7 F#m7 Aii7 → vi7 F#miv7 → i7minor plagal ×8

The move to watch is C#m7 → F#m7, heard 25 times. From the F#m side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the A side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
When C#7 comes, swap the scale's E for E#: 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on Dmaj7, the song gives away its key from the very first bar. Dmaj7, F#m7, C#m7, Bm7 carry the song: IVmaj7–vi7–iii7–ii7 relative to A, VImaj7–i7–v7–iv7 relative to F#m. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C#m7 → F#m7 (iii7 → vi7 in A, v7 → i7 in F#m): natural-minor cadence — gentle, modal arrival. It closes on F#m7, letting the F#m 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.

Emre Nalbantoğlu - Koca Kafa 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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Lyrics: Emre Nalbantoğlu

Music: Emre Nalbantoğlu

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