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)
Aynur Aydın - Öldürdüm Bizi - Chord
Key A major – F# minor Chords F#m, E, Bm, C#, C#7 Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: A | Gbm | F#m
Capo: 0
F#m
Batıyoruz her gün derinlere derinlere zor
Çıkıyoruz ama evin nere yerin nere sor
E
Düşüyoruz aynı yerden aynı yere, hep bi zor
Bi de inanmıyorum artık
Bm
Gidiyorum ama senle gidilmesi zor
C# C#7
Yolda kalacağız ayrı gayrı bi arada zor, bize zor
F#m
Ah tatlım Nirvana sandık
Tırmandık yalnız kaldık
E
Her yerinde yanlışa battık
Her şey yine sona gidiyor
Bm
Bizi biliyorum aslında
Sona gelip kaçıp duruyoruz hep tekrar
C# F#m
Başa dönüyoruz gel git her defa dökülüyor boş laflar
F#m
Öldürdüm bizi bittin sen
E
Bi daha yalvarsan da boşuna anlatsan da
Bm
Her lafında bi yalanın gelir aklıma
C# F#m
Şansın bol olsun benden uzaklardaa
F#m
Ne acıyo acıtıyor hiçbir şey
Kabullendim acı bitti kaldı hiçbir şey
E
Dönüp dönüp bakıyorum ama hiçbir şey
Canım istemiyor artık senle hiçbir şey
Bm C#
Senle olan bu rüyaya ben inanmıştım
F#m
Uyandırdın sonunda
End of song Play again?
Aynur Aydın - Öldürdüm Bizi Tabs
NotesX
Harmony analysis
Aynur Aydın – Öldürdüm Bizi: key and chord analysis
The song opens on F#m and ends on F#m. Its chords belong to both A major and F#m, so every chord below is read both ways.
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 both starts and finishes on F#m, F#m is heard 7 times while A never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 4× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | 4× |
| V7/vi | C#7 | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# · B | 1× |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| V | E | Dominant — strongest pull home | E · G# · B | 4× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 7× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 7× |
| 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# | 4× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | 4× |
| V7 | C#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# · B | 1× |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 4× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 20 times in total; 3 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# / C#7 is V/vi, a secondary dominant heading for F#m.
Chord movement
- Bm C# Aii → V/vi F#miv → Viv → V ×4
- C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×3
- C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×1
The move to watch is Bm → C#, heard 4 times. From the F#m side it is iv → V (iv → V: the minor side's tension builder); from the A side it reads ii → V/vi. 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 F#m, land on F#, A, C# — 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- When C# 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
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The first chord is F#m; the ear learns where home is within a second. The chords that keep coming back are F#m, E, Bm, C#; read them as vi–V–ii–V/vi in A or i–VII–iv–V in F#m. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bm → C# (ii → V/vi in A, iv → V in F#m): iv → V — the minor side's tension builder. The final chord is F#m; the ear comes to rest in F#m.
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.
Aynur Aydın - Öldürdüm Bizi 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Aşkım KapışmakMusic: Esad FidanArrangement: Ozan Bayraşa
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.