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)
Bilal Hancı - Hep Sen (Özkan Meydan) - Chord
Key C major – A minor Chords Fmaj7, Em, Am Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em Fmaj7 Em Fmaj7 Em Fmaj7 Karanlık sarmış beni, ne gider ne gün doğar Em Fmaj7 Karanlık sarmış beni, ne gider ne gün doğar Am Fmaj7 Hüzün bulutlarından hasret yağmuru yağar Am Fmaj7 Hüzün bulutlarından hasret yağmuru yağar Em Hep sen olsan ömrüme Fmaj7 Dünüme bu günüme Em Bu sevdadan vazgeçmem Fmaj7 Dünya gelse üstüme Em Fmaj7 Em Fmaj7 Em Fmaj7 Kanar akar içime, yüreğimin yarası Em Fmaj7 Kanar akar içime, yüreğimin yarası Am Fmaj7 Ben sensiz deli oldum, sen ellerin sevdası Am Fmaj7 Ben sensiz deli oldum, sen ellerin sevdası Em Hep sen olsan ömrüme Fmaj7 Dünüme bu günüme Em Bu sevdadan vazgeçmem Fmaj7 Dünya gelse üstüme
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Bilal Hancı - Hep Sen (Özkan Meydan) Tabs
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Harmony analysis
Bilal Hancı – Hep Sen (Özkan Meydan): key and chord analysis
The song opens on Em and ends on Fmaj7. 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)
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. 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 | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 12× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 16× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 4× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v | Em | Minor dominant — soft pull | E · G · B | 12× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 16× |
| 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). 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
- Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×4
The move to watch is Fmaj7 → Am, heard 4 times. From the Am side it is VImaj7 → i (VI → i: falls a half step into home); from the C side it reads IVmaj7 → vi. 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 Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — 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.
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 Em; the ear learns where home is within a second. The backbone is Fmaj7, Em, Am — IVmaj7–iii–vi from the C side, VImaj7–v–i from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fmaj7 → Am (IVmaj7 → vi in C, VImaj7 → i in Am): VI → i — falls a half step into home. The final chord is Fmaj7; the ear comes to rest in C.
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.
Bilal Hancı - Hep Sen (Özkan Meydan) 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: Azmi CoşkunMusic: Ümit Karabiber
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