Ceylan Ertem - Hayır - Chord

Key C major – A minor Chords Em, Dm7, F7, Am, Am7, E7, Dm, Em7 Difficulty already in its easiest key

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Capo 0

  F7
Dün gece biraz kırgın biraz sinirliydin
     Am
Mutlaka bir şeylere sıkılmıştı canın
      F7
Yoksa sen ölsen bile asla bana öyle
Em                                  E7
Hiç bir zaman sevmedim seni diyemezdin

  Dm7
Evet hatta biraz fazla sinirliydin
   Am7
Belki de ben hata yaptım farkında olmadan
    Dm
Mutlaka işlerin filan yolunda değildi
Em
Yoksa hiç böyle şakalar yaparmıydın sen

Am                                            Em
Hayır hayır yalan, sen de beni sevdin inkar etme
Em7 
Hayır olmaz, bu yalnızca bir anlık öfke

    Dm7
Öfkeli olmasan asla bağırmazdın öyle
   Am7
Ne olur anla artık lütfen bitti diye
     Dm7
Başkası var artık diye yalan da söyledim
Em
Sanki inanırmışım gibi böyle şeye

End of song Play again?

Ceylan Ertem - Hayır Tabs

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Harmony analysis

Ceylan Ertem – Hayır: key and chord analysis

The song opens on F7 and ends on Em. 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 4 times while C never appears 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	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	3×
ii	Dm	Supertonic — prepares the dominant	D · F · A	1×
iii	Em	Mediant — a tonic-family shade	E · G · B	4×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	1×
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	1×
IV7	F7	Chromatic colour chordoutside the key	F · A · C · Eb	2×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	2×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	2×
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	2×
i7	Am7	Tonic — home	A · C · E · G	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	3×
iv	Dm	Subdominant — moves away from home	D · F · A	1×
v	Em	Minor dominant — soft pull	E · G · B	4×
v7	Em7	Minor dominant — soft pull	E · G · B · D	1×
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	1×
VI7	F7	Chromatic colour chordoutside the key	F · A · C · Eb	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 16 times in total; 6 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 E7 is V7/vi, a secondary dominant heading for Am. F7 step outside the scale as colour chords.

Chord movement

Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×2
F7 Am CIV7 → vi AmVI7 → iVI → i ×1
Em Am Ciii → vi Amv → inatural-minor cadence ×1

The move to watch is Dm7 → Am7, heard 2 times. From the Am side it is iv7 → i7 (minor plagal: deep and melancholic); from the C side it reads ii7 → vi7. 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over F7, land on F, A, C — the chord's own tones always sound right on strong beats.
When E7 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

The first chord is F7; the ear learns where home is within a second. The chords that keep coming back are Em, Dm7, F7, Am; read them as iii–ii7–IV7–vi in C or v–iv7–VI7–i in Am. F7 is the interesting twist: in C it is a chromatic chord (IV7), while in Am it becomes the dominant (VI7) that makes the minor side sound so determined. Keep an ear on Dm7 → Am7 (ii7 → vi7 in C, iv7 → i7 in Am): minor plagal — deep and melancholic. Ending on Em, the song seals C 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.