Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Allame - Hayalin Yeri Yok - Chord
Key D major – B minor Chords F#m, Bm, C#7 Easy key F
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Key: D | Bm
Capo: 0
F#m F#m Bm Bm
(Tüm ara sözler aynı döngü ile devam eder)
Zamanda yolculuk zararla son bulur azarla korkunu
Bir mektuptur kalan masanda bulduğun
Yazında soluduğum kışında nefessizim aniden
O an belirdi gökyüzünde sert kobalttan maviler
Anlat teban ile eskiyen çocukluğuna ayarsın
Umutların yok gözyaşlarına merdiven dayarsın
Manasız belirsiz hatıralar diş geçirdi etime
Boşvermişlik iyiden iyiye hasar verdi bütün gücüme
Çok küçükken öcüler ağlatırdı şimdi pembeleşti
Varolmanın gereksizliğiyle iyice ötekileştim
Tam 25 yıl eşlik etti karanlık aydınlık ağı
Aydınlık terketti bak karanlıkla var kan bağım
Bi defter bin ağıt insan etten dil ağır
Tek sebepten yazar eller gel küfret de bağır
Sanki sağır hayat duymuyor kalleş bana bayağı
Sokaklar bu serseriyi yakın tanır açık yaka bağır
F#m Bm
Hayalin yeri yok zamanı sar ellerinden kayıp gidiyor
C#7
Bu diyar beni geriyor bugünümü mahkûm ediyor
Sanki nisbet etmek için var tüm mutlu şarkılar
Kolumdan çekeliyor uzakta ışıklar var arşı yar
Yüz hatlarımdan oku ben ilk çeyreğini yaşadığım
Hayat yüzünden kirlettim bu denizi ondan öldü martılar
Sen varlıktan şımartılan çocuksun duygulardan ırak
Yokluğunlayım yakın beni yoksul uykularda bırak
İstemesen bile gelip kırar kalbin durma noktasında
Bunal tam 1 hafta 24 saatim duman
Sağlık sıhat kayıp son dönem bi matem ayı
Bıktım izlemekten mazi çekti gözlerimden retinayı
Dizlerin toprakta kalsın uğraş verme kalkmak için
Ben yazmadım ki sizler oluşturdunuz bu temayı
Anlattıklarım hakikat, zaman hiç beklemeden
Hareket etti sanki bir yılım bir dakika
Bu sınır sonrasında patika var realde kal
Ne haldeyim bilmezlerdeysen eğer hep yakandalar
F#m Bm
Hayalin yeri yok zamanı sar ellerinden kayıp gidiyor
C#7
Bu diyar beni geriyor bugünümü mahkûm ediyor
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Allame - Hayalin Yeri Yok Tabs
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Harmony analysis
Allame – Hayalin Yeri Yok: key and chord analysis
The song opens on F#m and ends on C#7. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because Bm is heard 4 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 4× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 4× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| V7/iii | C#7 | Secondary dominant V/iii — leads to F#msecondary dominant | C# · E# · G# · B | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 4× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| V7/v | C#7 | Secondary dominant V/v — leads to F#msecondary dominant | C# · E# · G# · B | 2× |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 4× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 3 different chords appear 10 times in total; 2 of them sit naturally inside the shared scale. C#7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×3
- C#7 F#m DV7/iii → iiisecondary resolution BmV7/v → v ×1
The move to watch is F#m → Bm, heard 3 times. From the Bm side it is v → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over C#7, land on C#, E#, G# — 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on F#m, the song gives away its key from the very first bar. F#m, Bm, C#7 carry the song: iii–vi–V7/iii relative to D, v–i–V7/v relative to Bm. C#7 adds a moment of surprise: secondary dominant V/iii — leads to F#m. Keep an ear on F#m → Bm (iii → vi in D, v → i in Bm): natural-minor cadence — gentle, modal arrival. It closes on C#7, letting the D side have the last word.
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.
Allame - Hayalin Yeri Yok 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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