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)
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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Key: B | Abm | G#m
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.
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.
| 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 | — |
| 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.
Demet Akalın - Altın Kafes 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.
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Lyrics: Özlem ArgoMusic: Reşit Gözdamla
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