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)
Yüzyüzeyken Konuşuruz - Ölmemişiz - Chord
Key A major – F# minor Chords G#, C#m, E Easy key F (capo 4)
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Key: A | Gbm | F#m
Capo: 0
C#m G#
C#m G# C#m
Çok özlemişiz de
G# C#m
Eşekliğimizle
G# C#m G#
Susmuş almışız
C#m G# C#m
O günlerimizde
G# C#m
Biz ölmemişiz de
G# C#m G#
Biraz yıpranmışız
E G# E
İnsan düşünmüyor değil
G# E
Hiç üzülmüyor değil
G# C#m
Ama benim de hatam var
E G# E
Gel benim için değil
G# E
Yemin ederim değil
G# C#m
Başka bir konu var
C#m G# C#m
Tam üç sene önce
G# C#m
Rüzgarıyla ünlü
G# C#m G#
Bi yerde tanışmışız
C#m G# C#m
Bugün, yine aynı güzide
G# C#m
Semtimizde
G# C#m G#
Karşılaşmışız
End of song Play again?
Yüzyüzeyken Konuşuruz - Ölmemişiz Tabs
NotesX
Harmony analysis
Yüzyüzeyken Konuşuruz – Ölmemişiz: key and chord analysis
The song opens on C#m and ends on G#. 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: 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 19× |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| V | E | Dominant — strongest pull home | E · G# · B | 6× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| V/iii | G# | Secondary dominant V/iii — leads to C#msecondary dominant | G# · B# · D# | 23× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| V/v | G# | Secondary dominant V/v — leads to C#msecondary dominant | G# · B# · D# | 23× |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 19× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 6× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 3 different chords appear 48 times in total; 2 of them sit naturally inside the shared scale. G# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 G#, land on G#, B#, D# — 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 E, land on E, G#, B — 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
- 4 semitones down · capo 4 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening C#m lays a solid floor for everything that follows. The backbone is G#, C#m, E — V/iii–iii–V from the A side, V/v–v–VII from the F#m side. G# adds a moment of surprise: secondary dominant V/iii — leads to C#m. The final chord is G#; 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.
Yüzyüzeyken Konuşuruz - Ölmemişiz 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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