Tuğkan - Yalnızlığın Ezgisi - Chord

Key B major – G# minor Chords D#m7, C#m7, Emaj7, F#, G#m, Bmaj7, C, E Easy key C

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Capo 0


   D#m7   C#m7                 Bmaj7
Bi sen bi sigaram var üstüme sinen
   C#m7                   D#m7
İkiniz de birbirinizden beter
      Emaj7       D#m7
Kalabalık uzun bi caddede
   C#m7                  D#m7
Tutmuşum yalnızlığın elinden

  D#m7           C#m7                  Bmaj7
Bilen varsa konuşsun şu ayrılığın dilinden
     C#m7                   D#m7
Kurutsun kökünden elinden gelen
   Emaj7      D#m7      C#m7
Ki sen gittin ezgisi kaldı
                    D#m7
Bu aşkın puslu sesinden

     Emaj7        D#m7
Bi gece uyanıp aniden
            F#            G#m
Kan ter içinde fırlayıp yerinden
  C              D#m7
Bırak damlasın gözünden
          Emaj7
İçinden gelenler

     C#m7
Bağırsa gözlerin azarlasa seni
     D#m7
Damlasa gözlerinden anlamam için
     G#m
Bu gece aşk

G#m  F#      E
Sen  gel geceleri bi de bana sor
F#               G#m
Özlemek inan yaşamaktan daha zor
         C#m7  D#m7
Yolculuk var   toplandılar
F#            C#m7   D#m7
Hatıralar zoruma gidiyor

End of song Play again?

Tuğkan - Yalnızlığın Ezgisi Tabs

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Harmony analysis

Tuğkan – Yalnızlığın Ezgisi: key and chord analysis

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

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)

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = E (the minor's melancholy)
b7 = F# (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G# minor side because G#m is heard 4 times against 2 for B. 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.

Seen from B major
Degree	Chord	Role	Notes	In song
Imaj7	Bmaj7	Tonic — home	B · D# · F# · A#	2×
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	1×
ii7	C#m7	Supertonic — prepares the dominant	C# · E · G# · B	9×
iii7	D#m7	Mediant — a tonic-family shade	D# · F# · A# · C#	13×
V/vi	D#	Secondary dominant V/vi — leads to G#msecondary dominant	D# · G · A#	—
IVmaj7	Emaj7	Subdominant — moves away from home	E · G# · B · D#	4×
IV	E	Subdominant — moves away from home	E · G# · B	1×
V	F#	Dominant — strongest pull home	F# · A# · C#	4×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	4×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	G#m	Tonic — home	G# · B · D#	4×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
IIImaj7	Bmaj7	Relative major — the bright side	B · D# · F# · A#	2×
#III	C	Chromatic colour chordoutside the key	C · E · G	1×
iv7	C#m7	Subdominant — moves away from home	C# · E · G# · B	9×
v7	D#m7	Minor dominant — soft pull	D# · F# · A# · C#	13×
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VImaj7	Emaj7	Submediant — warm colour	E · G# · B · D#	4×
VI	E	Submediant — warm colour	E · G# · B	1×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	4×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 8 different chords appear 38 times in total; 7 of them sit naturally inside the shared scale. C is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×2
D#m7 G#m Biii7 → vi G#mv7 → inatural-minor cadence ×1
E F# BIV → VIV → V G#mVI → VIIVI → VII ×1

The move to watch is F# → G#m, heard 2 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 D#m7, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.

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

Starting on D#m7, the song gives away its key from the very first bar. D#m7, C#m7, Emaj7, F# carry the song: iii7–ii7–IVmaj7–V relative to B, v7–iv7–VImaj7–VII relative to G#m. C briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. Keep an ear on F# → G#m (V → vi in B, VII → i in G#m): Aeolian arrival — rises a whole tone into home. Ending on D#m7, the song seals B 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.