Demet Akalın - Cinayet - Chord

Key A major – F# minor Chords C#m, Bm, D, E, A, F#m Easy key C

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Capo 0

C#m
Gidiyormusun, yani geçici mi
D                     C#m
Seyahat mi, temelli mi

C#m  E  C#m  A  D  Bm  C#m  Bm  C#m

C#m                     Bm
Topladığım valizleri, teker teker boşalttım
C#m                      Bm
Gitmek için ayırttığım biletleri hep yaktım
C#m                   E
Elimden hiç düşmedi, telefonlara sardım
C#m                   Bm         C#m
Dün gece yoksun diye, koltukta yattım

C#m
Gidiyormusun, yani geçici mi
D                     C#m
Seyahat mi, temelli mi

F#m                C#m
Madem gidiyorsun, yalandan veda et
F#m                      C#m
Reçetem de bir kaç dost, biraz da metanet
E                      Bm
Her zaman ki huyun bu, gel beni de ziyan et
C#m                      Bm    D   C#m
Bu bir ayrılık değil, resmen cinayet

C#m                     Bm     D   C#m
Bu bir ayrılık değil, resmen cinayet

C#m   E  C#m   A   D  Bm  C#m  Bm   C#m

End of song Play again?

Demet Akalın - Cinayet Tabs

NotesX

Harmony analysis

Demet Akalın – Cinayet: 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.

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. 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	2×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	10×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	23×
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	6×
V	E	Dominant — strongest pull home	E · G# · B	4×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	2×
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#	2×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	2×
iv	Bm	Subdominant — moves away from home	B · D · F#	10×
v	C#m	Minor dominant — soft pull	C# · E · G#	23×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	6×
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). 6 different chords appear 47 times in total; 6 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 ×2

The move to watch is C#m → F#m, heard 2 times. From the A side it reads iii → vi; from the F#m side it is v → i (natural-minor cadence: gentle, modal arrival). 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 Bm, land on B, D, F# — 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

Starting on C#m, the song gives away its key from the very first bar. The chords that keep coming back are C#m, Bm, D, E; read them as iii–ii–IV–V in A or v–iv–VI–VII in F#m. 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. Ending on C#m, the song seals A as home.

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.