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)
İlhan Şeşen - Hayallerimi Bırak (Grup Gündoğarken) - Chord
Key E major – C# minor Chords E, F#m, B7 Easy key D (capo 2)
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Key: E | Dbm | C#m
Capo: 0
E F#m B7 E
E F#m
Yorgun oturur görünsem de köşemde, yine sen varsın
B7 E
Yalnız sen ve senle ilgili hatıralar
F#m
Avunmak hayallerle terk edilmişliğin kaderi
B7 E
Unutmak kolaysa bu kadar üzgün insan neden var
E F#m B7 E
Hayallerimi bırak, umutlar senin olsun
F#m B7 E
Döneceksin sanarak, yaşanmaz biliyorsun
E F#m
Bir roman kahramanı kadar güçlü değilim
B7 E
Biraz daha durursan ağlayıp yalvarabilirim
F#m
Arkanı dön ve sakın sakın bakma geriye
B7 E
Acı çektirmeyi sevmezsin bilirim
E F#m B7 E
Hayallerimi bırak, umutlar senin olsun
F#m B7 E
Döneceksin sanarak, yaşanmaz biliyorsun
End of song Play again?
İlhan Şeşen - Hayallerimi Bırak (Grup Gündoğarken) Tabs
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Harmony analysis
İlhan Şeşen – Hayallerimi Bırak (Grup Gündoğarken): 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)
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 and E is heard 14 times while C#m never appears. 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 | 14× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 9× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| III | G# | Chromatic colour chordoutside the key | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | — |
| V7 | B7 | Dominant — strongest pull home | B · D# · F# · A | 9× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 14× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 9× |
| 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# | — |
| VI | A | Submediant — warm colour | A · C# · E | — |
| VII7 | B7 | Subtonic — steps back to the tonic | B · D# · F# · A | 9× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 3 different chords appear 32 times in total; 3 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
- B7 E EV7 → Iauthentic cadence C#mVII7 → III ×9
- F#m B7 Eii → V7ii → V C#miv → VII7 ×9
The move to watch is B7 → E, heard 9 times. From the E side it reads V7 → I (authentic cadence: the strongest arrival home); from the C#m side it is VII7 → III. 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over B7, land on B, D#, F# — 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 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The first chord is E; the ear learns where home is within a second. E, F#m, B7 carry the song: I–ii–V7 relative to E, III–iv–VII7 relative to C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B7 → E (V7 → I in E, VII7 → III in C#m): authentic cadence — the strongest arrival home. 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.
İlhan Şeşen - Hayallerimi Bırak (Grup Gündoğarken) 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: İlhan ŞeşenMusic: İlhan Şeşen
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