Pinhani - Leyla - Chord

Key A major – F# minor Chords D, E, C#m, F#m, A Easy key G (capo 2)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

A  D  E  A  D  E
F#m  D  E  F#m  D  E

F#m           D          E
Ben bir taraf, sen bir tarafta
   F#m  C#m  D   E
Döndü   bu   dün ya
F#m           D         E
Ben bir merak, sen neyi saklarsın
F#m  C#m  D   E
Sus  tu   ğun da

C#m       D   C#m       D
Ben bir yürek, sen sarı sevdasın
C#m      D         E        D
Ben sana söylemem, sen beni anlarsın
C#m     D   C#m       D
Ben yazarak  her şeyi anlattım
E
Attım içimden

A         D         E
Leyla, kendin gel bana
A         D         E       F#m
Leyla, çıkmaz bir yola girmişim
      C#m      D  E
Dünya yandıysa yansın
F#m       C#m      D  E
Bana yaptığından utaansın

A         D         E
Leyla, kendin gel bana
A         D         E       F#m
Leyla, çıkmaz bir yola girmişim
      C#m      D  E
Dünya yandıysa yansın
F#m       C#m      D  E
Bize Yaptığından utansın

F#m  C#m  D   E

F#m   C#m  D          E
Ben şehir,  sen bir sokak çıkmaz
F#m  C#m   D  E
Yol  lar  içinde
F#m       C#m  D          E
Ben bir kömür,  sen bir duman tütmez
F#m  C#m   D  E
Yıl  lar  içinde

C#m       D   C#m        D
Ben bir kahır, sen bir roman bitmez
C#m      D          E
Yazmadım ben daha o son cümleyi
C#m      D  C#m       D
Ben bir ömür beklerim istersen
E
Vazgeçmem senden

A         D         E
Leyla, kendin gel bana
A         D         E       F#m
Leyla, çıkmaz bir yola girmişim
      C#m      D  E
Dünya yandıysa yansın
F#m       C#m      D  E
Bana yaptığından utaansın

A         D         E
Leyla, kendin gel bana
A         D         E       F#m
Leyla, çıkmaz bir yola girmişim
      C#m      D  E
Dünya yandıysa yansın
F#m       C#m      D  E
Bize yaptığından utansın

End of song Play again?

Pinhani - Leyla Tabs

NotesX

Harmony analysis

Pinhani – Leyla: key and chord analysis

The song opens on A and ends on E. Its chords belong to both A major and F#m, so every chord below is read both ways.

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)

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: we can't honestly pick a side here — the song moves freely between A major and F# minor because it opens on A and F#m is heard 19 times against 10 for A. Try reading the chords both ways and see which feels more like home to you.

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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	10×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	25×
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	40×
V	E	Dominant — strongest pull home	E · G# · B	33×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	19×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	19×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	10×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
v	C#m	Minor dominant — soft pull	C# · E · G#	25×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	40×
VII	E	Subtonic — steps back to the tonic	E · G# · B	33×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 127 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

D E AIV → VIV → V F#mVI → VIIVI → VII ×33
E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×19
E A AV → Iauthentic cadence F#mVII → III ×9

The move to watch is D → E, heard 33 times. From the A side it reads IV → V (IV → V: the lift that builds tension before home); from the F#m side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 D, land on D, F#, A — 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 C#m, land on C#, E, G# — 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

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

The song's harmonic story

Starting on A, the song gives away its key from the very first bar. D, E, C#m, F#m carry the song: IV–V–iii–vi relative to A, VI–VII–v–i relative to F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → E (IV → V in A, VI → VII in F#m): IV → V — the lift that builds tension before home. The final chord is E; 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.