Fikri Karayel - Hayal Edemezsin - Chord

Key C major – A minor Chords Dm, Am, A7, G, E7, C, F Easy key G (capo 5)

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Capo 0

Dm  G  Am  A7  Dm  E7  Am  A7

Dm       G   Am          A7
Zaman gelince ve sen gidince
Dm      E7         Am    A7        Dm
Yüzüme sonbahar gelir kapanır çiçekler
        G        Am           A7
Şehri hüzün basar sen terk edince
Dm       E7         Am          A7
Bütün bayraklar çekilir kısalır cümleler
 
   Dm         G           C            F
Görsen inanmazsın nasıl durur bekler zaman
        Dm         E7           Am     A7        Dm
Yeniden dönmeni milyon kez anlatsam, hayal edemezsin
         G             C           F
Uçmaz kuşlar, düşer yapraklar sararır kitaplar
Dm          E7          Am    A7
Radyolar çalmaz küser bana  bütün bu şehir

Dm  G  Am  A7  Dm  E7  Am  A7

Dm         G  Am          A7
Zaman gelince  ve sen dönünce
Dm     E7          Am    A7      Dm
Yüzüme yaz gelir doğar yeniden güneş
Dm          G        Am        A7
Şehir bir senin olur burda olunca sorma
Dm        E7          Am          A7
Sen farketmeden bir anlam kazanır saatler

   Dm         G           C            F
Görsen inanmazsın nasıl durur bekler zaman
        Dm         E7           Am     A7        Dm
Yeniden dönmeni milyon kez anlatsam, hayal edemezsin
         G             C           F
Uçmaz kuşlar, düşer yapraklar sararır kitaplar
Dm          E7          Am    A7
Radyolar çalmaz küser bana  bütün bu şehir

End of song Play again?

Fikri Karayel - Hayal Edemezsin Tabs

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Harmony analysis

Fikri Karayel – Hayal Edemezsin: key and chord analysis

The song opens on Dm and ends on A7. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (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 A minor side because Am is heard 16 times against 4 for C and the major V chord points straight at Am. 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	4×
ii	Dm	Supertonic — prepares the dominant	D · F · A	21×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	10×
IV	F	Subdominant — moves away from home	F · A · C	4×
V	G	Dominant — strongest pull home	G · B · D	10×
vi	Am	Relative minor — the melancholy side	A · C · E	16×
V7/ii	A7	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E · G	16×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	16×
V7/iv	A7	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E · G	16×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	4×
iv	Dm	Subdominant — moves away from home	D · F · A	21×
v	Em	Minor dominant — soft pull	E · G · B	—
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	10×
VI	F	Submediant — warm colour	F · A · C	4×
VII	G	Subtonic — steps back to the tonic	G · B · D	10×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 81 times in total; 5 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am. A7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

A7 Dm CV7/ii → iisecondary resolution AmV7/iv → iv ×15
E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×10
Dm G Cii → Vii → V Amiv → VII ×10
Dm E7 Cii → V7/vi Amiv → V7iv → V ×10
G Am CV → videceptive cadence AmVII → iAeolian arrival ×6
G C CV → Iauthentic cadence AmVII → III ×4

The move to watch is A7 → Dm, heard 15 times. From the Am side it is V7/iv → iv; from the C side it reads V7/ii → ii (secondary resolution: A7 resolves a fourth up to Dm). 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 Dm, land on D, F, A — 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.
Over A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
When E7 comes, swap the scale's G 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 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

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, Am, A7, G — ii–vi–V7/ii–V from the C side, iv–i–V7/iv–VII from the Am side. A7 is the interesting twist: in C it is a chromatic chord (V7/ii), while in Am it becomes the dominant (V7/iv) that makes the minor side sound so determined. Keep an ear on A7 → Dm (V7/ii → ii in C, V7/iv → iv in Am): secondary resolution — A7 resolves a fourth up to Dm. Ending on A7, the song seals C 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.