Demet Akalın - Altın Kafes - Chord

Key B major – G# minor Chords Abm, C#m, F#, Ab, Eb, E Easy key C

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Capo 0

                Abm
Ne de güzel ağlıyor aşk
                C#m
Bağıra çağıra susuyor
                 F#
Sonunda uçup gidiyor
                               Abm
Altın kafesinden biraz üzülerek

Abm  C#m  F#  F#  Abm

Abm             C#m
Nereye gitti, şimdi elimdeydi
Ab           C#m    Eb
Seviyordum ellerini ne güzel
Abm             C#m
Nasıl da bitti oysa yanımdayken
Ab           C#m    Eb
Özlüyordum şifalı nefesini

 Abm          F#
Yalan mı bu zaman
  E              Abm
Nasıl da çabuk geçti
            F#
Aylardan yıllara
   E        Abm
Umutlar tükendi

                Abm
Ne de güzel ağlıyor aşk
                C#m
Bağıra çağıra susuyor
                 F#
Sonunda uçup gidiyor
                               Abm
Altın kafesinden biraz üzülerek

End of song Play again?

Demet Akalın - Altın Kafes Tabs

NotesX

Harmony analysis

Demet Akalın – Altın Kafes: key and chord analysis

The song opens on Abm and ends on Abm. Its chords belong to both B major and G#m, so every chord below is read both ways.

Major view

B major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = E (the minor's melancholy)
b7 = F# (natural-minor colour)
#7 = G (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 G# minor side because it both starts and finishes on G#m, G#m is heard 11 times while B never appears and the major V chord points straight at G#m. That is an interpretation, not a rule — the same chords are just as valid seen from B 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 B or to G#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 B major
Degree	Chord	Role	Notes	In song
I	B	Tonic — home	B · D# · F#	—
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	7×
iii	D#m	Mediant — a tonic-family shade	D# · F# · A#	—
V/vi	Eb	Secondary dominant V/vi — leads to Abmsecondary dominant	Eb · G · Bb	2×
IV	E	Subdominant — moves away from home	E · G# · B	2×
V	F#	Dominant — strongest pull home	F# · A# · C#	6×
vi	Abm	Relative minor — the melancholy side	Ab · Cb · Eb	11×
V/ii	Ab	Secondary dominant V/ii — leads to C#msecondary dominant	Ab · C · Eb	2×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	Abm	Tonic — home	Ab · Cb · Eb	11×
V/iv	Ab	Secondary dominant V/iv — leads to C#msecondary dominant	Ab · C · Eb	2×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	—
iv	C#m	Subdominant — moves away from home	C# · E · G#	7×
v	D#m	Minor dominant — soft pull	D# · F# · A#	—
V	Eb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Eb · G · Bb	2×
VI	E	Submediant — warm colour	E · G# · B	2×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	6×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 6 different chords appear 30 times in total; 4 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same Eb is V/vi, a secondary dominant heading for G#m. Ab acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

F# Abm BV → videceptive cadence G#mVII → iAeolian arrival ×3
C#m F# Bii → Vii → V G#miv → VII ×3
Eb Abm BV/vi → vi G#mV → iharmonic-minor cadence ×2
C#m Eb Bii → V/vi G#miv → Viv → V ×2
E Abm BIV → vi G#mVI → iVI → i ×2

The move to watch is F# → Abm, heard 3 times. From the G#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the B side it reads V → vi (deceptive cadence: expected B, lands on G#m). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 2 + A shapes
Capo 4 + G shapes
Capo 7 + E shapes

With G# minor shapes

Capo 4 + Em shapes
Capo 6 + Dm shapes

Easiest keys on guitar

1 semitone up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The first chord is Abm; the ear learns where home is within a second. The backbone is Abm, C#m, F#, Ab — vi–ii–V–V/ii from the B side, i–iv–VII–V/iv from the G#m side. Ab is the interesting twist: in B it is a chromatic chord (V/ii), while in G#m it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on F# → Abm (V → vi in B, VII → i in G#m): Aeolian arrival — rises a whole tone into home. It closes on Abm, letting the G#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.