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)
Key A major – F# minor Chords C#m, D, F#m Easy key C
C#m D
Koal koal yine koal çete, bütün dünya mahallem ghettom
C#m D
Everyday jeden tag hergün, kalmalısın her zaman ketum
C#m D
Yapar herkes boş laf, milletin ağzı değil torba bağır istediğin kadar
C#m
Bağır bize bam bam yok bizde taktik dikkat
D
Rollie Rollie(rolex)yapamaz tik tak
C#m D
Yeteneğiniz dedikodu, koduğumun bebeleri
C#m D
Ne ki şan şöhret, götüne sok ama yalnız bırak beni
C#m D
Benim uyuşturucum müzik, seninkisi sanal alem
C#m D
Bana artz bugy yeni beat ama sana lazım yeni tweet
F#m
Çünkü işin lolololo
C#m
İşin gücün laf, hep tut bir saf
F#m
Bize de mi lolololo
C#m
El insaf, hep iftira, hep
C#m D
Unutamam nereden nere, nereden geldiğimi
C#m D
Sokağa neyi versem, dönüp bana geri verdi yine
C#m D
Sana yaranayım diye değil, açlığı yaralayayım diye
C#m D
Sahnen dolu boş meydan, medyan kadar olamadın sosyal
Duraman yerimde olsan
C#m D
27 yaşında milyon lira, çok da bişi değil keke yüz bin euro
C#m D
Skiim para pulu, olamam kulu, paso minnet paso bin ton rica
C#m D
İcraate gelince fıs, bana her boku de ben diince kız
C#m D
Bana tek dediğin salam sosis ama senden olur helal domuz
C#m D
De bana ne diyosan, yeter ki dediini bi kere yap
C#m D
Bebeler her boku biliyolar, eleştir sikiştir giderayak
C#m D
Boşuna yapıcan bize lolo, daha sonra kaçıcak bi yere bak
C#m D
O da hakkın işimidir lolo, şerefsizlik olur size logo
Bi milim gidemez ite kaka hatta, bin kere gösterse bile çaba ve
C#m
Ne bi selam verir ne bi merhaba salak
D
Beni kendin sanıp niyet ara çalış
C#m
Çalış çalış hadi, koal koal yine iş
D C#m
Lazım bebelere aş, bize derler hadi koş
D
Ama sana sktr ordan hadi puşt
F#m
Çünkü işin lolololo
C#m
İşin gücün laf, hep tut bir saf
F#m
Bize de mi lolololo
C#m
El insaf, hep iftira, hep
End of song Play again?
Harmony analysis
The song opens on C#m and ends on C#m. Its chords belong to both A major and F#m, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because F#m is heard 4 times while A never appears. 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.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 27× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 23× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 4× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 4× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 27× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 23× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
The key pair is A major and its relative F# minor (3 sharps). 3 different chords appear 54 times in total; 3 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is D → F#m, heard 2 times. From the F#m side it is VI → i (VI → i: falls a half step into home); from the A side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The first chord is C#m; the ear learns where home is within a second. The chords that keep coming back are C#m, D, F#m; read them as iii–IV–vi in A or v–VI–i in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → F#m (IV → vi in A, VI → i in F#m): VI → i — falls a half step into home. Ending on C#m, the song seals A 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.
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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