Hadise - Hayat Oyunu - Chord

Key B major – G# minor Chords F#, Emaj7, G#m, B, D#m, C#m, D# Easy key C

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Capo 0

G#m  F#  Emaj7  F#

           G#m              F#
Bir avuç hüzündü bu benim hayatım
        Emaj7           F#
Birazı ölümdü yaşadığım her anın
        G#m           F#
Kalbe gömüldü canı acıyan dualarla
          Emaj7                F#
Bir iki hazin fotoğraf kaldı duvarlarda

C#m              F#
 Her acı geçer zamanla, geçer zamanla
Emaj7            F#
 Şimdilik avun bununla, avun bununla
Emaj7                 F#
 Mutlu ol küçük bi' yalanla
      Emaj7          C#m    D#
"Bi' daha kimse beni böyle üzemez ki" de

         G#m             F#
Nelere dayandın sen bu savaşta
        Emaj7            B     D#m
Yaralı uyandın kaç gece, kaç defa
            G#m                  F#
Sen bunu da atlatırsın, çocuğuna anlatırsın
            Emaj7           B  D#m
Kazanan hiç olmadı hayat oyununda

          G#m              F#
Ne dünü hatırla, ne yarına ağla
          Emaj7            F#   G#m
Ne dünü hatırla, ne yarına ağlaaaa

G#m  F#  Emaj7  F#

         G#m           F#
Kaderime kızdım kederimden çok
          Emaj7              B   D#m
Yüreğimin ortasında camdan bir ok
         G#m                  F#
Tutunup umuduma bi' kere, bi' kere daha
         Emaj7                        F#
Kıyasıya yaşadım ben hep, başka bi' yol yok

         G#m             F#
Nelere dayandın sen bu savaşta
        Emaj7            B     D#m
Yaralı uyandın kaç gece, kaç defa
            G#m                  F#
Sen bunu da atlatırsın, çocuğuna anlatırsın
            Emaj7             B  D#m
Kazanan hiç olmadı hayat oyununda

          G#m              F#
Ne dünü hatırla, ne yarına ağla
          Emaj7            F#   G#m
Ne dünü hatırla, ne yarına ağlaaaa

End of song Play again?

Hadise - Hayat Oyunu Tabs

NotesX

Harmony analysis

Hadise – Hayat Oyunu: key and chord analysis

The song opens on G#m and ends on G#m. Its chords belong to both B major and G#m, so every chord below is read both ways.

Major view

B major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A# (leading tone, pulls home)
4 = E (the note that leans on the 3rd)

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = E (the minor's melancholy)
b7 = F# (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 G# minor side because it both starts and finishes on G#m, G#m is heard 14 times against 5 for B and the major V chord points straight at G#m. That is an interpretation, not a rule — the same chords are just as valid seen from B 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 B or to G#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 B major
Degree	Chord	Role	Notes	In song
I	B	Tonic — home	B · D# · F#	5×
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	2×
iii	D#m	Mediant — a tonic-family shade	D# · F# · A#	5×
V/vi	D#	Secondary dominant V/vi — leads to G#msecondary dominant	D# · G · A#	1×
IVmaj7	Emaj7	Subdominant — moves away from home	E · G# · B · D#	15×
V	F#	Dominant — strongest pull home	F# · A# · C#	22×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	14×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	G#m	Tonic — home	G# · B · D#	14×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	5×
iv	C#m	Subdominant — moves away from home	C# · E · G#	2×
v	D#m	Minor dominant — soft pull	D# · F# · A#	5×
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	1×
VImaj7	Emaj7	Submediant — warm colour	E · G# · B · D#	15×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	22×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 7 different chords appear 64 times in total; 6 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same D# is V/vi, a secondary dominant heading for G#m.

Chord movement

Emaj7 F# BIVmaj7 → VIV → V G#mVImaj7 → VIIVI → VII ×9
F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×6
Emaj7 B BIVmaj7 → Iplagal cadence G#mVImaj7 → III ×5
D#m G#m Biii → vi G#mv → inatural-minor cadence ×5
D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×1
C#m F# Bii → Vii → V G#miv → VII ×1

The move to watch is Emaj7 → F#, heard 9 times. From the G#m side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the B side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
Over Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
When D# comes, swap the scale's F# 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 B major shapes

Capo 2 + A shapes
Capo 4 + G shapes
Capo 7 + E shapes

With G# minor shapes

Capo 4 + Em shapes
Capo 6 + Dm shapes

Easiest keys on guitar

1 semitone up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

Starting on G#m, the song gives away its key from the very first bar. F#, Emaj7, G#m, B carry the song: V–IVmaj7–vi–I relative to B, VII–VImaj7–i–III relative to G#m. D# is the interesting twist: in B it is a chromatic chord (V/vi), while in G#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Emaj7 → F# (IVmaj7 → V in B, VImaj7 → VII in G#m): VI → VII — the rising step that heads for the tonic. The final chord is G#m; the ear comes to rest in G#m.

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.