Can Ozan - Hayal Edemezsin - Chord

Key C major – A minor Chords Dm, Am, G, F, E, A, C Difficulty already in its easiest key

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Capo 0

Dm  G  Am  Dm  F  E  A  Dm
Dm  G   C  F  Dm  E  A  Dm

Dm         G  Am           Dm
Zaman gelince  ve sen gidince
F      E          Am        A        Dm
Yüzüme sonbahar gelir, kapanır çiçekler
        G          Am           Dm
Şehri hüzün basar, sen terk edince
F        E          Am            A
Bütün bayraklar çekilir, kısalır cümleler

   Dm         G
Görsen inanmazsın nasıl
  C            F           Dm
Durur bekler zaman yeniden dönmeni
   E            Am     A         Dm
Milyon kez anlatsam, hayal edemezsin
         G            C          F
Uçmaz kuşlar düşer yapraklar sararır kitaplar
Dm           E          Am
Radyolar çalmaz küser bana
A          Dm
Bütün bu şehir

Dm  G  C  Dm  F  E  Am  A  Dm

Dm         G   Am           Dm
Zaman gelince   ve sen dönünce
F      E            Am    A       Dm
Yüzüme yaz gelir, doğar yeniden güneş
          G         Am         Dm
Şehir bir senin olur burda olunca
F      E            Am            A
Sen farketmeden bir anlam kazanır saatler

   Dm         G
Görsen inanmazsın nasıl
  C            F           Dm
Durur bekler zaman yeniden dönmeni
   E            Am     A         Dm
Milyon kez anlatsam, hayal edemezsin
         G            C          F
Uçmaz kuşlar düşer yapraklar sararır kitaplar
Dm           E          Am
Radyolar çalmaz küser bana
A          Dm
Bütün bu şehir

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Can Ozan - Hayal Edemezsin Tabs

NotesX

Harmony analysis

Can Ozan – Hayal Edemezsin: key and chord analysis

The song opens on Dm and ends on Dm. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because Am is heard 14 times against 6 for C and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	6×
ii	Dm	Supertonic — prepares the dominant	D · F · A	27×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	11×
IV	F	Subdominant — moves away from home	F · A · C	11×
V	G	Dominant — strongest pull home	G · B · D	11×
vi	Am	Relative minor — the melancholy side	A · C · E	14×
V/ii	A	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	11×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	14×
V/iv	A	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	11×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	6×
iv	Dm	Subdominant — moves away from home	D · F · A	27×
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	11×
VI	F	Submediant — warm colour	F · A · C	11×
VII	G	Subtonic — steps back to the tonic	G · B · D	11×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 91 times in total; 5 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. A acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Dm G Cii → Vii → V Amiv → VII ×11
E Am CV/vi → vi AmV → iharmonic-minor cadence ×9
G C CV → Iauthentic cadence AmVII → III ×6
G Am CV → videceptive cadence AmVII → iAeolian arrival ×5
Dm E Cii → V/vi Amiv → Viv → V ×5

The move to watch is Dm → G, heard 11 times. From the Am side it is iv → VII; from the C side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — 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.
When E comes, swap the scale's G for G#: 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 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

Starting on Dm, the song gives away its key from the very first bar. The backbone is Dm, Am, G, F — ii–vi–V–IV from the C side, iv–i–VII–VI from the Am side. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. 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 Dm; 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.