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)
Birileri - Genç ve Umutsuz - Chord
Key E major – C# minor Chords A, E, B, C#m, G#, F#, Am Easy key G
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Key: E | Dbm | C#m
Capo: 0
E Bugün günlerden perşembe B Pazardan bi farkı yok bence C#m Bi parçası olmak bu sistemin A Olurdu zaten işkence E Sabah sekizden akşam beşe B Aynı duvara başka bir tuğla C#m A Hayır bu hayat değil bana göre G# A F# B A E Peki ya para, nereden gelecek sana G# A B Bilmiyorum ama değil hiç umrumda, desem de E B C#m A Gelme üstüme bugün, keyfim kaçık zaten E G# C#m Yok bir umut geleceğimden E B C#m A Aslında umrumda değil, ama biliyorsun işte E G# C#m İnsan düşünmeden edemiyor bazen A E B C#m A Am E
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Birileri - Genç ve Umutsuz Tabs
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Harmony analysis
Birileri – Genç ve Umutsuz: key and chord analysis
The song opens on E and ends on E. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
- #7 = B# (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 E major side because it both starts and finishes on E, E is heard 8 times against 7 for C#m and the major V chord points straight at C#m. That is an interpretation, not a rule — hearing the same chords from C# minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | E | Tonic — home | E · G# · B | 8× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| V/V | F# | Secondary dominant V/V — leads to Bsecondary dominant | F# · A# · C# | 1× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | 4× |
| IV | A | Subdominant — moves away from home | A · C# · E | 9× |
| iv | Am | Minor iv — borrowed from the parallel minorborrowed chord | A · C · E | 1× |
| V | B | Dominant — strongest pull home | B · D# · F# | 7× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 7× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 7× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 8× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| IV | F# | Major IV — Dorian / melodic-minor colourmodal colour | F# · A# · C# | 1× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | — |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | 4× |
| VI | A | Submediant — warm colour | A · C# · E | 9× |
| vi | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 7× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 7 different chords appear 37 times in total; 4 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G# is V/vi, a secondary dominant heading for C#m. F# acts as a secondary dominant, briefly pointing at another chord of the key. Am is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×5
- A E EIV → Iplagal cadence C#mVI → III ×4
- G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×2
- B E EV → Iauthentic cadence C#mVII → III ×1
- Am E Eiv → Iminor plagal C#mvi → III ×1
- A B EIV → VIV → V C#mVI → VIIVI → VII ×1
The move to watch is B → C#m, heard 5 times. From the E side it reads V → vi (deceptive cadence: expected E, lands on C#m); from the C#m side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 A, land on A, C#, E — 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- When G# comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
- On Am, 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 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
- 3 semitones up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on E, the song gives away its key from the very first bar. The chords that keep coming back are A, E, B, C#m; read them as IV–I–V–vi in E or VI–III–VII–i in C#m. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → C#m (V → vi in E, VII → i in C#m): deceptive cadence — expected E, lands on C#m. Ending on E, the song seals E 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.
Birileri - Genç ve Umutsuz 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: Jan SoykökMusic: Jan SoykökArrangement: Birileri
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