Athena - Kafama Göre - Chord

Key D major – B minor Chords Bm, E, A, Em, G Easy key G (capo 7)

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Capo 0

Bm    E    Bm    E    Bm    E    A    Bm
Bm    E    Bm    E

Bm       E    Bm       E
Kuralı yok, kuralı yok
Bm        E      A       Bm
Hayat senin gibi delisi yok

Bm    E    Bm     E
Yaşıyorum gelişine
Bm     E    A        Bm
Takılıyorum kafama göre
A      Bm    A
Kafama göre, kafama göre

Bm    E    Bm    E    Bm    E    A    Bm

Bm       E     Bm        E
Karışmasınlar, dokunmasınlar
Bm        E       A      Bm
Ben böyle keyfime bakıyorum

Bm     E    Bm     E
Bozuk düzen Öylesine
Bm      E   A        Bm
Takılıyorum kafama göre
A      Bm    A
Kafama göre, kafama göre

A
Arada ayıp ederim
                       Em            G
İstemeden kırarsam kalbini kusura bakma
A
Arada ayıp ederim
                    Em          G      A
Ansızın gidersem yanından kusura bakma

End of song Play again?

Athena - Kafama Göre Tabs

NotesX

Harmony analysis

Athena – Kafama Göre: key and chord analysis

The song opens on Bm and ends on A. 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 it opens on Bm and Bm is heard 28 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	2×
V/V	E	Secondary dominant V/V — leads to Asecondary dominant	E · G# · B	20×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	2×
V	A	Dominant — strongest pull home	A · C# · E	13×
vi	Bm	Relative minor — the melancholy side	B · D · F#	28×
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#	28×
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	2×
IV	E	Major IV — Dorian / melodic-minor colourmodal colour	E · G# · B	20×
v	F#m	Minor dominant — soft pull	F# · A · C#	—
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	2×
VII	A	Subtonic — steps back to the tonic	A · C# · E	13×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 65 times in total; 4 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

A Bm DV → videceptive cadence BmVII → iAeolian arrival ×9
G A DIV → VIV → V BmVI → VIIVI → VII ×2

The move to watch is A → Bm, heard 9 times. From the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the D side it reads V → vi (deceptive cadence: expected D, lands on Bm). 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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

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

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. The chords that keep coming back are Bm, E, A, Em; read them as vi–V/V–V–ii in D or i–IV–VII–iv in Bm. E adds a moment of surprise: secondary dominant V/V — leads to A. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. The final chord is A; the ear comes to rest in D.

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.