Sefo - Kafa Rahat - Chord

Key D major – B minor Chords F#m7, Bm7, Em7 Easy key C (capo 2)

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Capo 0

Bm7  F#m7  Em7  F#m7

Bm7          F#m7                 Em7
Günler geçer iyi kötü, aklımda bu yaz
            F#m7                 Bm7
N’aparsa yapsın, o iyi hatırlanamaz
        F#m7                  Em7
Kıymeti olmaz devam ondan koparak
             F#m7
Her şeyi yakarak

Bm7              F#m7
Kafa rahat, kafa rahat
Em7            F#m7
Sadece aşk kabahat
Bm7              F#m7
Kafa rahat, kafa rahat
Em7           F#m7
Unuturum daha rahat

Bm7           F#m7
Sana sen gibi lazım
  Em7      F#m7
Yalancı, yalancı
Bm7       F#m7
 Sana sen lazım
 Em7     F#m7
İnatçı, inatçı

Bm7           F#m7
Benim yanımda biletin yok
                 Em7  
Düzelmeye de hiç niyetin yok
              F#m7
Salla boş ver, her şeyin var
               Bm7
Ama benim gibi sevenin yok

           F#m7 
Var kara bulut
             Em7
Düzelir bi’ umut
            F#m7
Her şeyimi unut

                  Bm7
Bana kurulmuş hep tuzakların
                 F#m7
Çok şey duydu bu kulaklarım
                 Em7
Bir gün bitti ve uzatmadım
                  F#m7
Kuruttun, hiç gül bırakmadın
              Bm7
Çok kayganmış dudakların, kalbin gibi
F#m7       
Çok sevdim, ilk Barbie’m gibi
Em7
Artık çıkmaz yollar sana
F#m7
Kaybet, kaybet, gördün dibi

Bm7      F#m7                  Em7
 Kıymeti olmaz devam ondan koparak
             F#m7
Her şeyi yakarak

Bm7              F#m7
Kafa rahat, kafa rahat
Em7            F#m7
Sadece aşk kabahat
Bm7              F#m7
Kafa rahat, kafa rahat
Em7           F#m7
Unuturum daha rahat

Bm7           F#m7
Sana sen gibi lazım
  Em7      F#m7
Yalancı, yalancı
Bm7       F#m7
 Sana sen lazım
 Em7     F#m7
İnatçı, inatçı

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Sefo - Kafa Rahat Tabs

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Harmony analysis

Sefo – Kafa Rahat: key and chord analysis

The song opens on Bm7 and ends on F#m7. 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 16 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	—
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	16×
iii7	F#m7	Mediant — a tonic-family shade	F# · A · C# · E	32×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	—
V	A	Dominant — strongest pull home	A · C# · E	—
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	16×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i7	Bm7	Tonic — home	B · D · F# · A	16×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iv7	Em7	Subdominant — moves away from home	E · G · B · D	16×
v7	F#m7	Minor dominant — soft pull	F# · A · C# · E	32×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	—
VII	A	Subtonic — steps back to the tonic	A · C# · E	—

Analysis

The key pair is D major and its relative B minor (2 sharps). 3 different chords appear 64 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.

Chord movement

F#m7 Bm7 Diii7 → vi7 Bmv7 → i7natural-minor cadence ×15

The move to watch is F#m7 → Bm7, heard 15 times. From the Bm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the D side it reads iii7 → vi7. 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 F#m7, land on F#, A, C# — 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 Em7, land on E, G, B — 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

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

The song's harmonic story

Starting on Bm7, the song gives away its key from the very first bar. The chords that keep coming back are F#m7, Bm7, Em7; read them as iii7–vi7–ii7 in D or v7–i7–iv7 in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → Bm7 (iii7 → vi7 in D, v7 → i7 in Bm): natural-minor cadence — gentle, modal arrival. The final chord is F#m7; 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.