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)
Batu Akdeniz - Elde Kaldı İki Yalnız (Aleyna Talınlı) - Chord
Key B major – G# minor Chords F#, B, C#m, A Easy key D
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Key: B | Abm | G#m
Capo: 0
C#m F#
Uçurumun kenarında
B
Yürüyorum sen aklımda
C#m F#
Mahkum olduk iki aşık
B
Bu sürgüne, bu yalnızlığa
C#m F#
Yalanı söylemez, yalanı yaşarız biz
B
Bu kavgalar seviş biçimimiz
C#m F#
Bir oyun oynayıp da kaybedeniz biz
B
Ve bu hatıradan hep çekeceğiz
A B
Sor kendine
C#m F#
Ne sen unuttun, ne ben unuttum
B
Elde kaldı iki yalnız
C#m F#
Ne sen unuttun, ne ben unuttum
B C#m F# B
Elde kaldı iki yalnız, iki yalnız
C#m F# B
İki yalnız
C#m F#
Dipsiz bir çukurda
B
Batıyorum sen aklımda
C#m F#
Mahkum olduk iki aşık
B
Bu sürgüne, bu yalnızlığa
C#m F#
Bu acıdan ölür de kavuşamayız biz
B
Gurur ve benliğin kölesiyiz
C#m F#
Yine de başkasına da yar diyemeyiz
B
Bu savaşlar sevişmelerimiz
A B
Bak kendine
C#m F#
Ne sen unuttun, ne ben unuttum
B
Elde kaldı iki yalnız
C#m F#
Ne sen unuttun, ne ben unuttum
B C#m F# B
Elde kaldı iki yalnız, iki yalnız
C#m F# B
İki yalnız
C#m F#
Dipsiz bir çukurda
B F#
Batıyorum sen aklımda
C#m F#
Mahkum olduk iki aşık
B F#
Bu sürgüne, bu yalnızlığa
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Batu Akdeniz - Elde Kaldı İki Yalnız (Aleyna Talınlı) Tabs
NotesX
Harmony analysis
Batu Akdeniz – Elde Kaldı İki Yalnız (Aleyna Talınlı): key and chord analysis
The song opens on C#m and ends on F#. Its chords belong to both B major and G#m, so every chord below is read both ways.
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 B major side because B is heard 20 times while G#m never appears. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | 20× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | 18× |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| III | D# | Chromatic colour chordoutside the key | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | — |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 20× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | — |
| bVII | A | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | A · C# · E | 2× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | — |
| bII | A | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | A · C# · E | 2× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | 20× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | 18× |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VI | E | Submediant — warm colour | E · G# · B | — |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 20× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 60 times in total; 3 of them sit naturally inside the shared scale. A is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F# B BV → Iauthentic cadence G#mVII → III ×18
- C#m F# Bii → Vii → V G#miv → VII ×18
- A B BbVII → IbVII → I G#mbII → III ×2
The move to watch is F# → B, heard 18 times. From the B side it reads V → I (authentic cadence: the strongest arrival home); from the G#m side it is VII → III. 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 F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — 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.
- On A, follow the chord's notes (A · C# · E) 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
- 3 semitones up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The first chord is C#m; the ear learns where home is within a second. The backbone is F#, B, C#m, A — V–I–ii–bVII from the B side, VII–III–iv–bII from the G#m side. A briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on F# → B (V → I in B, VII → III in G#m): authentic cadence — the strongest arrival home. Ending on F#, 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.
Batu Akdeniz - Elde Kaldı İki Yalnız (Aleyna Talınlı) 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: Batu AkdenizMusic: Batu Akdeniz
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