Merve Deniz - Yüzyıllık Yalnızlık - Chord

Key E major – C# minor Chords C#m7, Amaj7, F#m7, G#m7, E, G#m Easy key C (capo 4)

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Capo 0

C#m7  Amaj7

      C#m7
Oradaydın vuruldum sana ilk bakışta
Amaj7
Yerde mi gökte miyim
      C#m7
Kayboldum buzdağı bakışlar ardından
Amaj7
Bekledim gel demeni beni sevmeni

F#m7      G#m7
Yorgundun mutsuzdun
C#m7
Ben anladım
F#m7               G#m

C#m7          E                 F#m7
Yüzyıllık bir yalnızlık bir ihtimal
            G#m7
Kal biraz daha yanımda
C#m7          E                 F#m7
Yüzyıllık bir yalnızlık bir ihtimal
            G#m7
Öyle kal ki dursun dünyam

C#m7  Amaj7

     C#m7
Uslandım güvendim yaslandım omzuna
Amaj7
Dağ gibi toprak gibi
    C#m7
Kökledim çiçeklerim de sevdi yerini
Amaj7
Suyumdun huzurumdun

End of song Play again?

Merve Deniz - Yüzyıllık Yalnızlık Tabs

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Harmony analysis

Merve Deniz – Yüzyıllık Yalnızlık: key and chord analysis

The song opens on C#m7 and ends on Amaj7. Its chords belong to both E major and C#m, so every chord below is read both ways.

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D# (leading tone, pulls home)
4 = A (the note that leans on the 3rd)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C# minor side because it opens on C#m and C#m is heard 9 times against 2 for E. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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 E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	2×
ii7	F#m7	Supertonic — prepares the dominant	F# · A · C# · E	4×
iii7	G#m7	Mediant — a tonic-family shade	G# · B · D# · F#	3×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	1×
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	—
IVmaj7	Amaj7	Subdominant — moves away from home	A · C# · E · G#	6×
V	B	Dominant — strongest pull home	B · D# · F#	—
vi7	C#m7	Relative minor — the melancholy side	C# · E · G# · B	9×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i7	C#m7	Tonic — home	C# · E · G# · B	9×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	2×
iv7	F#m7	Subdominant — moves away from home	F# · A · C# · E	4×
v7	G#m7	Minor dominant — soft pull	G# · B · D# · F#	3×
v	G#m	Minor dominant — soft pull	G# · B · D#	1×
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	—
VImaj7	Amaj7	Submediant — warm colour	A · C# · E · G#	6×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	—

Analysis

The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 25 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

Amaj7 C#m7 EIVmaj7 → vi7 C#mVImaj7 → i7VI → i ×4
G#m7 C#m7 Eiii7 → vi7 C#mv7 → i7natural-minor cadence ×3
G#m C#m7 Eiii → vi7 C#mv → i7natural-minor cadence ×1

The move to watch is Amaj7 → C#m7, heard 4 times. From the C#m side it is VImaj7 → i7 (VI → i: falls a half step into home); from the E side it reads IVmaj7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over F#m7, land on F#, A, C# — 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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

4 semitones down · capo 4 keeps the original pitch
3 semitones up

The song's harmonic story

The first chord is C#m7; the ear learns where home is within a second. The chords that keep coming back are C#m7, Amaj7, F#m7, G#m7; read them as vi7–IVmaj7–ii7–iii7 in E or i7–VImaj7–iv7–v7 in C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Amaj7 → C#m7 (IVmaj7 → vi7 in E, VImaj7 → i7 in C#m): VI → i — falls a half step into home. The final chord is Amaj7; the ear comes to rest in E.

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.

Merve Deniz - Yüzyıllık Yalnızlık 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: Merve Deniz
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Music: Merve Deniz
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Can Oflaz
Gürsel Çelik

Arrangement: Gürsel Çelik

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