Hadise - Hay Hay - Chord

Key E major – C# minor Chords Amaj7, C#m, B Easy key G

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Capo 0

C#m  C#m  Amaj7  Amaj7

C#m
Yok böyle bir acı varsa verin ilacı susayım
   Amaj7
İçime içime dökülen gözyaşımı kurutayım
C#m
Çok canım acısa da giriliyor yeni yola hazırım
    Amaj7
Geliyor gelmekte olan sanırım sona yakınım
      B
Yakınııım

C#m
Hay hay hadi ayıralım yolları bay bay
                         Amaj7
Nasıl unuturuz o günleri say say
               B           Amaj7
Şimdi tamam ama sonrasında hep vay, ki ne vay

C#m
İkimizde bir aşkla tutuştuk

O zamanlar özeldi 
Amaj7
Ne değişti de her şeyi sustuk

Konuşulsa yeterdi
C#m
Bu hikayeyi en başa sarsak

Sonumuz değişir mi
Amaj7
İyi geldi mi bize bunu yapmak

Nasıl böyle güzel mi

End of song Play again?

Hadise - Hay Hay Tabs

NotesX

Harmony analysis

Hadise – Hay Hay: key and chord analysis

The song opens on C#m and ends on Amaj7. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C# minor side because it opens on C#m and C#m is heard 7 times while E never appears. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 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	—
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	—
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#	—
IVmaj7	Amaj7	Subdominant — moves away from home	A · C# · E · G#	8×
V	B	Dominant — strongest pull home	B · D# · F#	2×
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	—
iv	F#m	Subdominant — moves away from home	F# · A · C#	—
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#	—
VImaj7	Amaj7	Submediant — warm colour	A · C# · E · G#	8×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	2×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 3 different chords appear 17 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

Amaj7 C#m EIVmaj7 → vi C#mVImaj7 → iVI → i ×4
Amaj7 B EIVmaj7 → VIV → V C#mVImaj7 → VIIVI → VII ×2
B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×1

The move to watch is Amaj7 → C#m, heard 4 times. From the C#m side it is VImaj7 → i (VI → i: falls a half step into home); from the E side it reads IVmaj7 → vi. 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 Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — 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.

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

The first chord is C#m; the ear learns where home is within a second. Amaj7, C#m, B carry the song: IVmaj7–vi–V relative to E, VImaj7–i–VII relative to C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Amaj7 → C#m (IVmaj7 → vi in E, VImaj7 → i in C#m): VI → i — falls a half step into home. The final chord is Amaj7; the ear comes to rest in E.

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.