Birileri - Genç ve Umutsuz - Chord

Key E major – C# minor Chords A, E, B, C#m, G#, F#, Am Easy key G

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Capo 0

E
 Bugün günlerden perşembe
B
 Pazardan bi farkı yok bence
C#m
 Bi parçası olmak bu sistemin
A
 Olurdu zaten işkence

E
 Sabah sekizden akşam beşe
B
 Aynı duvara başka bir tuğla
C#m                           A
 Hayır bu hayat değil bana göre

G#           A             F#      B  A
 E Peki ya para, nereden gelecek sana
G#           A                 B
 Bilmiyorum ama değil hiç umrumda, desem de

E      B        C#m      A
 Gelme üstüme bugün, keyfim kaçık zaten
E         G#           C#m
 Yok bir umut geleceğimden
E        B          C#m       A
 Aslında umrumda değil, ama biliyorsun işte
E          G#                C#m
 İnsan düşünmeden edemiyor bazen
 
A  E   B  C#m
A  Am  E

End of song Play again?

Birileri - Genç ve Umutsuz Tabs

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Harmony analysis

Birileri – Genç ve Umutsuz: 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.

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)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)
#7 = B# (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 E major side because it both starts and finishes on E, E is heard 8 times against 7 for C#m and the major V chord points straight at C#m. 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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	8×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	—
V/V	F#	Secondary dominant V/V — leads to Bsecondary dominant	F# · A# · C#	1×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	—
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	4×
IV	A	Subdominant — moves away from home	A · C# · E	9×
iv	Am	Minor iv — borrowed from the parallel minorborrowed chord	A · C · E	1×
V	B	Dominant — strongest pull home	B · D# · F#	7×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	7×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	7×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	8×
iv	F#m	Subdominant — moves away from home	F# · A · C#	—
IV	F#	Major IV — Dorian / melodic-minor colourmodal colour	F# · A# · C#	1×
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#	4×
VI	A	Submediant — warm colour	A · C# · E	9×
vi	Am	Chromatic colour chordoutside the key	A · C · E	1×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	7×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 7 different chords appear 37 times in total; 4 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G# is V/vi, a secondary dominant heading for C#m. F# acts as a secondary dominant, briefly pointing at another chord of the key. Am is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×5
A E EIV → Iplagal cadence C#mVI → III ×4
G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×2
B E EV → Iauthentic cadence C#mVII → III ×1
Am E Eiv → Iminor plagal C#mvi → III ×1
A B EIV → VIV → V C#mVI → VIIVI → VII ×1

The move to watch is B → C#m, heard 5 times. From the E side it reads V → vi (deceptive cadence: expected E, lands on C#m); from the C#m side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
When G# comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
On Am, follow the chord's notes (A · C · E) 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 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

3 semitones up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

Starting on E, the song gives away its key from the very first bar. The chords that keep coming back are A, E, B, C#m; read them as IV–I–V–vi in E or VI–III–VII–i in C#m. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → C#m (V → vi in E, VII → i in C#m): deceptive cadence — expected E, lands on C#m. 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.