Paptircem - Yalnızlık Bana Kalan - Chord

Key A major – F# minor Chords F#m, E, Dmaj7, Bm, C#7, A, C#m Easy key C

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Capo 0

F#m  C#m  Dmaj7  Bm  C#7

F#m                   C#m
İsterdim ben de daha iyi biri olmak
Dmaj7             Bm           E
Tek başıma tatile çıkıp pişman olmamak falan 
F#m                  C#m                      Dmaj7
Cildi daha parlak, daha komik, daha vurdum duymaz
  A         C#7        F#m
Bana uzak sana layık olmak

F#m                 E            C#m
Denedin sen de aslında beni sevmeyi
Dmaj7              Bm            E
Kafan karışıktı belki, ya da korktun yalnızlıktan 
F#m                  E                           Dmaj7
Kolay değil, sorun değil, senden tek bir şey istedim
A           C#m         F#m
Sev beni, bana mecbur olma

F#m  E                  Dmaj7  Bm
       Merak etme mahvolmam
   E          F#m
İyileştirir zaman
  E  A  Dmaj7       C#7       Bm
Olmazdı zaten biraz parçalanmadan
           A                 F#m
En sonunda, yalnızlık bana kalan

F#m  E  Dmaj7  C#7  F#m  E  Dmaj7  C#7

F#m                    E
İsterdim sırdaşın, ilk aşkın olmayı
Dmaj7                Bm              E
Terk ettiğin değil aklın kayınca bi’ başkasına
F#m             E                       Dmaj7
Alıştım yavaş yavaş her şeye, hala en zoru
  A          C#7      F#m
Sevilmeden sana ait olmak

F#m  E                  Dmaj7  Bm
       Merak etme mahvolmam
   E          F#m
İyileştirir zaman
  E  A  Dmaj7       C#7       Bm
Olmazdı zaten biraz parçalanmadan
           A                 F#m
En sonunda, yalnızlık bana kalan

End of song Play again?

Paptircem - Yalnızlık Bana Kalan Tabs

NotesX

Harmony analysis

Paptircem – Yalnızlık Bana Kalan: key and chord analysis

The song opens on F#m and ends on F#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)
#7 = E# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F# minor side because it both starts and finishes on F#m, F#m is heard 18 times against 7 for A and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 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	7×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	8×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	5×
V7/vi	C#7	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G# · B	7×
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	13×
V	E	Dominant — strongest pull home	E · G# · B	15×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	18×
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#	18×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	7×
iv	Bm	Subdominant — moves away from home	B · D · F#	8×
v	C#m	Minor dominant — soft pull	C# · E · G#	5×
V7	C#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G# · B	7×
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	13×
VII	E	Subtonic — steps back to the tonic	E · G# · B	15×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 73 times in total; 6 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C#7 is V7/vi, a secondary dominant heading for F#m.

Chord movement

C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×5
E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×5
Bm E Aii → Vii → V F#miv → VII ×5
Dmaj7 A AIVmaj7 → Iplagal cadence F#mVImaj7 → III ×3
E A AV → Iauthentic cadence F#mVII → III ×2
Bm C#7 Aii → V7/vi F#miv → V7iv → V ×1

The move to watch is C#7 → F#m, heard 5 times. From the F#m side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the A side it reads V7/vi → vi (secondary resolution: C#7 resolves a fourth up to F#m). 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 F#m, land on F#, A, C# — 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 Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
When C#7 comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.

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

The first chord is F#m; the ear learns where home is within a second. The backbone is F#m, E, Dmaj7, Bm — vi–V–IVmaj7–ii from the A side, i–VII–VImaj7–iv from the F#m side. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C#7 → F#m (V7/vi → vi in A, V7 → i in F#m): harmonic-minor cadence — the major V resolves dramatically. It closes on F#m, letting the F#m side have the last word.

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.