MFÖ - Benim Hala Umudum Var - Chord

Key G major – E minor Chords D, Em, C, G, Bm, Dm, Cm, Am Difficulty already in its easiest key

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Capo 0

Em                 G   Em                       Dm
Benim hala umudum var isyan etsem de istediğim kadar
Cm              G                    D
İnat etsem bile bırakmazlar sahibim var
Em                G   Em                    Dm
Benim hala umudum var seviyorlar bazen soruyorlar
Cm                    G                   D
Hayran hayran seyret ister katıl ister vazgeç  

Em                         D               C
Güzel günler bizi bekler eyvallah dersin olur biter
Em                         D               C
Güzel günler bizi bekler eyvallah dersin geçer gider
                   Bm                          
Boyun büküp önünde ağlasam sessizce 
C                  G
Şu fakir gönlüm affolur mu
C                       Bm
Bu fırtına durulur mu benden adam olur mu
C                        D
Korkarım aşka zararım dokunur mu

Em           D      G  D    Em                   Dm
Elveda sana yeter tamam bitsin artık bu dram bu fotoroman
Cm                    G          D
Ham meyveyiz hala koparmışlar dalımızdan

Em                         D               C
Güzel günler bizi bekler eyvallah dersin olur biter
Em                         D               C
Güzel günler bizi bekler eyvallah dersin geçer gider
                  Bm
Bıraksam kendimi şöyle oh ne rahat
C                 G 
Bu da geçer gülüm yaşamana bak
C                       Bm
Alınacak dersler var sorulacak sorular
Am                           D
Bu da geçer gülüm bizden bu kadar

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MFÖ - Benim Hala Umudum Var Tabs

NotesX

Harmony analysis

MFÖ – Benim Hala Umudum Var: key and chord analysis

The song opens on Em and ends on D. Its chords belong to both G major and Em, so every chord below is read both ways.

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F# (leading tone, pulls home)
4 = C (the note that leans on the 3rd)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it opens on Em and Em is heard 10 times against 8 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	8×
ii	Am	Supertonic — prepares the dominant	A · C · E	1×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	4×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	9×
iv	Cm	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G	3×
V	D	Dominant — strongest pull home	D · F# · A	11×
v	Dm	Chromatic colour chordoutside the key	D · F · A	3×
vi	Em	Relative minor — the melancholy side	E · G · B	10×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	10×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	8×
iv	Am	Subdominant — moves away from home	A · C · E	1×
v	Bm	Minor dominant — soft pull	B · D · F#	4×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	9×
vi	Cm	Chromatic colour chordoutside the key	C · Eb · G	3×
VII	D	Subtonic — steps back to the tonic	D · F# · A	11×
vii	Dm	Chromatic colour chordoutside the key	D · F · A	3×

Analysis

The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 49 times in total; 6 of them sit naturally inside the shared scale. Cm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D Em GV → videceptive cadence EmVII → iAeolian arrival ×5
Cm G Giv → Iminor plagal Emvi → III ×3
C G GIV → Iplagal cadence EmVI → III ×2
C Em GIV → vi EmVI → iVI → i ×2
D G GV → Iauthentic cadence EmVII → III ×1
C D GIV → VIV → V EmVI → VIIVI → VII ×1

The move to watch is D → Em, heard 5 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
On Cm, follow the chord's notes (C · Eb · G) 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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. D, Em, C, G carry the song: V–vi–IV–I relative to G, VII–i–VI–III relative to Em. Cm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. It closes on D, letting the G 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.