Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Ebru Yaşar - Yalnız Uyunmaz - Chord
Key C major – A minor Chords Em, G, F, Dm, Am, Fmaj7, Cmaj7 Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: C | Am
Capo: 0
Em
Yapma beni böyle yalnız ortada bırakma
G
Duramam sensiz
F Dm G Em
Susma anlat içindeki kalan duygularla çözeriz belki
Em G
Ağla dök içindeki kini biraz rahatla iyi gelecek
F Dm G Em
Sonra bu kararsız kalbim demlenip belki yine bana dönecek
F Em Dm Em
Hayat senin, karar senin gel dersen seninim
Am F
Yalnız uyunmaz, uyunmaz
Em
Sana sarılmadan olmaz
Dm F
Ne günah işledi kalbim
Em G
Bilse bi mesele kalmaz
Fmaj7
Yoluna güller koydum
Em Cmaj7
Lafımı kaç kere yuttum
Dm F
Başımı bir sana eğdim
Em G
Bunları nasıl unuttun
End of song Play again?
Ebru Yaşar - Yalnız Uyunmaz Tabs
NotesX
Harmony analysis
Ebru Yaşar – Yalnız Uyunmaz: key and chord analysis
The song opens on Em and ends on G. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (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 C major and A 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 C or to Am; 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 |
|---|---|---|---|---|
| Imaj7 | Cmaj7 | Tonic — home | C · E · G · B | 1× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 5× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 10× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 6× |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 1× |
| V | G | Dominant — strongest pull home | G · B · D | 6× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 1× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 1× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 1× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 5× |
| v | Em | Minor dominant — soft pull | E · G · B | 10× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 6× |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 1× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 6× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 30 times in total; 7 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
- Dm G Cii → Vii → V Amiv → VII ×2
- Em Am Ciii → vi Amv → inatural-minor cadence ×1
The move to watch is Dm → G, heard 2 times. From the C side it reads ii → V (ii → V: the classic preparation of the dominant); from the Am side it is iv → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over F, 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Em; the ear learns where home is within a second. Em, G, F, Dm carry the song: iii–V–IV–ii relative to C, v–VII–VI–iv relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. The final chord is G; the ear comes to rest in C.
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.
Ebru Yaşar - Yalnız Uyunmaz 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Melda Gürbey
Fikret DedeoğluMusic: Melda Gürbey
Fikret DedeoğluArrangement: Erhan Bayrak
Fikret DedeoğluMusic: Melda Gürbey
Fikret DedeoğluArrangement: Erhan Bayrak
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.