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)
Özkan Sakız - Tutsak - Chord
Key A major – F# minor Chords C#m, E, D, F#m, Bm Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: A | Gbm | F#m
Capo: 0
C#m F#m Uzun bir yol bu, taştan demirden C#m F#m Kalbim kanar durur, yalnızlık kanar F#m E D Bm Aklım benden gitti, rüyalar gurbet C#m Bm E D C#m Geçip gider ömrüm, düşlerim kırık C#m Bm E D C#m F#m E D C#m Esirgeme gözlerini rüyalarımdan F#m E D C#m Geceme düşen ay ışığım ol F#m E D Bm Sarıp soluğunla, yanlızlığımı C#m Bm E D C#m Avut bu çocuğu/ruhumu sinelerinde C#m F#m Ezberlenmiş anlar, solgun yapraklar C#m F#m Gecelerimden sızılar akar F#m E D Bm Bu fırtınada sensiz limanım C#m Bm E D C#m Yak gözlerini bana yol göster F#m E D C#m Esirgeme gözlerini rüyalarımdan F#m E D C#m Geceme düşen ay ışığım ol F#m E D Bm Sarıp soluğunla, yanlızlığımı C#m Bm E D C#m Avut bu çocuğu/ruhumu sinelerinde
End of song Play again?
Özkan Sakız - Tutsak Tabs
NotesX
Harmony analysis
Özkan Sakız – Tutsak: key and chord 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.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
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 12 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.
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# | 9× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 18× |
| 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 | 13× |
| V | E | Dominant — strongest pull home | E · G# · B | 13× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 12× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 12× |
| 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# | 9× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 18× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 13× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 13× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 65 times in total; 5 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
- C#m F#m Aiii → vi F#mv → inatural-minor cadence ×10
- Bm E Aii → Vii → V F#miv → VII ×5
The move to watch is C#m → F#m, heard 10 times. From the F#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the A side it reads iii → 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 C#m, land on C#, E, G# — 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 D, land on D, F#, A — 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 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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is C#m; the ear learns where home is within a second. The backbone is C#m, E, D, F#m — iii–V–IV–vi from the A side, v–VII–VI–i from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. The final chord is C#m; the ear comes to rest in A.
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.
Özkan Sakız - Tutsak 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: Enver BulutMusic: Aydın ÖztürkArrangement: Ozan Olgun
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.