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)
Fikri Karayel - Hayal Edemezsin - Chord
Key C major – A minor Chords Dm, Am, A7, G, E7, C, F Easy key G (capo 5)
No ratings yet
or your user informations
Make it yours
Text size
Key: C | Am
Capo: 0
Dm G Am A7 Dm E7 Am A7
Dm G Am A7
Zaman gelince ve sen gidince
Dm E7 Am A7 Dm
Yüzüme sonbahar gelir kapanır çiçekler
G Am A7
Şehri hüzün basar sen terk edince
Dm E7 Am A7
Bütün bayraklar çekilir kısalır cümleler
Dm G C F
Görsen inanmazsın nasıl durur bekler zaman
Dm E7 Am A7 Dm
Yeniden dönmeni milyon kez anlatsam, hayal edemezsin
G C F
Uçmaz kuşlar, düşer yapraklar sararır kitaplar
Dm E7 Am A7
Radyolar çalmaz küser bana bütün bu şehir
Dm G Am A7 Dm E7 Am A7
Dm G Am A7
Zaman gelince ve sen dönünce
Dm E7 Am A7 Dm
Yüzüme yaz gelir doğar yeniden güneş
Dm G Am A7
Şehir bir senin olur burda olunca sorma
Dm E7 Am A7
Sen farketmeden bir anlam kazanır saatler
Dm G C F
Görsen inanmazsın nasıl durur bekler zaman
Dm E7 Am A7 Dm
Yeniden dönmeni milyon kez anlatsam, hayal edemezsin
G C F
Uçmaz kuşlar, düşer yapraklar sararır kitaplar
Dm E7 Am A7
Radyolar çalmaz küser bana bütün bu şehir
End of song Play again?
Fikri Karayel - Hayal Edemezsin Tabs
NotesX
Harmony analysis
Fikri Karayel – Hayal Edemezsin: key and chord analysis
The song opens on Dm and ends on A7. Its chords belong to both C major and Am, so every chord below is read both ways.
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 16 times against 4 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 4× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 21× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V7/vi | E7 | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B · D | 10× |
| IV | F | Subdominant — moves away from home | F · A · C | 4× |
| V | G | Dominant — strongest pull home | G · B · D | 10× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 16× |
| V7/ii | A7 | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E · G | 16× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 16× |
| V7/iv | A7 | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E · G | 16× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 4× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 21× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V7 | E7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B · D | 10× |
| VI | F | Submediant — warm colour | F · A · C | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 10× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 81 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 E7 is V7/vi, a secondary dominant heading for Am. A7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A7 Dm CV7/ii → iisecondary resolution AmV7/iv → iv ×15
- E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×10
- Dm G Cii → Vii → V Amiv → VII ×10
- Dm E7 Cii → V7/vi Amiv → V7iv → V ×10
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×6
- G C CV → Iauthentic cadence AmVII → III ×4
The move to watch is A7 → Dm, heard 15 times. From the Am side it is V7/iv → iv; from the C side it reads V7/ii → ii (secondary resolution: A7 resolves a fourth up to Dm). 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 A7, land on A, C#, E — 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, Am, A7, G — ii–vi–V7/ii–V from the C side, iv–i–V7/iv–VII from the Am side. A7 is the interesting twist: in C it is a chromatic chord (V7/ii), while in Am it becomes the dominant (V7/iv) that makes the minor side sound so determined. Keep an ear on A7 → Dm (V7/ii → ii in C, V7/iv → iv in Am): secondary resolution — A7 resolves a fourth up to Dm. Ending on A7, 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.
Fikri Karayel - Hayal Edemezsin 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Fikri KarayelMusic: Fikri KarayelArrangement: Fikri Karayel
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.