Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Manga - Dünyanın Sonuna Doğmuşum - Chord
Key A major – F# minor Chords F#m, D, E, Bm, C# Easy key G (capo 2)
No ratings yet
or your user informations
Make it yours
Text size
Key: A | Gbm | F#m
Capo: 0
D E F#m F#m D E F#m F#m
D E F#m E
Ayna, ayna hadi söyle benden daha gamsızı var mı
D E F#m E
Ayna, ayna hadi söyle benden daha arsızı var mı
F#m Bm
Dünyanın sonuna doğmuşum
D C#
Ya da ölmüşüm de haberim yok
F#m Bm
İyi bilirdik derler elbet ardımdan
D C#
Bundan büyük bir yalan yok
F#m
N'aber? bak, bende dert yok, tasa yok
Mutluyum artık, bi' beynim yok
D
Dikmişim ekrana gözlerimi
Başka da bir ihtiyacım yok
F#m
Kişisel neyim kaldı ki bir iletim olsun
Tıklana tıklana her şeyim ortada
D
Atın ölümü arpadan olsun
Her yiğit gibi benimki de meydanda
F#m
Tıklama konusu ayrı bir dava
Mahkemelerde görülüyor hâlâ
D
Namusu bacak arasında ararım
Dişi sinek bile görsem laf atarım
F#m
Çakma makma, üçe beşe bakmam
Önüm, arkam, sağım solum markam
D
Bana pastamı verin, ekmeğe gerek yok
Ben tüketmeden var olamam
D E F#m E
Ayna, ayna hadi söyle benden daha gamsızı var mı
D E F#m E
Ayna, ayna hadi söyle benden daha arsızı var mı
F#m Bm
Dünyanın sonuna doğmuşum
D C#
Ya da ölmüşüm de haberim yok
F#m Bm
İyi bilirdik derler elbet ardımdan
D C#
Bundan büyük bir yalan yok
D E F#m
Sıkıldım çok, her dakika düşünmekten, üzülmekten
D E F#m
Artık yok, kalmadı gücüm düşmekten, yenilmekten
D E F#m
Pişmanım erken vazgeçmekten, kendimden
D E F#m
Bu alem geçmiş kendinden, ne gelir elden?
D
Çakma makma, üçe beşe bakmam
E
Önüm, arkam, sağım solum markam
F#m
Bana pastamı verin, ekmeğe gerek yok
Ben tüketmeden var olamam
Bana dokunmayan yılan bin yaşasın
Dedikodu yapar, keyfime bakarım
Ağzımda sakız, elimde çanta
Fink atarım kaldırımlarda
Bağlanmaya sonuna kadar karşıyım
Ama dizilerimden beni ayırmayın
Değişir dünyam bir tuşla uzaktan
Elimdeki kumandam hayatıma kumandan
Yeni bir kart verdi bugün bankam
Puanlarım artık en büyük kankam
Olmasa da cebimde beş kuruş para
Cebimdeki telefon on numara
Allah allah gizli numara
Kim acaba? alo?
Bak kızım, yedi kocalı hürmüz gibi dolan
Ama ailemizin kızı gibi davran
Seni alacak biri de bulunur elbet
En kolay parayı hep sen kazan
End of song Play again?
Manga - Dünyanın Sonuna Doğmuşum Tabs
/videos/manga-dunyanin-sonuna-dogmusum-tab.mp4
NotesX
Harmony analysis
Manga – Dünyanın Sonuna Doğmuşum: key and chord analysis
The song opens on D and ends on F#m. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
- #7 = E# (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 F# minor side because it comes to rest on F#m, F#m is heard 21 times while A never appears and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 4× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | 4× |
| IV | D | Subdominant — moves away from home | D · F# · A | 19× |
| V | E | Dominant — strongest pull home | E · G# · B | 15× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 21× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 21× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 4× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | 4× |
| VI | D | Submediant — warm colour | D · F# · A | 19× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 15× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 63 times in total; 4 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C# is V/vi, a secondary dominant heading for F#m.
Chord movement
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×13
- D E AIV → VIV → V F#mVI → VIIVI → VII ×11
- C# F#m AV/vi → vi F#mV → iharmonic-minor cadence ×3
- D F#m AIV → vi F#mVI → iVI → i ×3
The move to watch is E → F#m, heard 13 times. From the F#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the A side it reads V → vi (deceptive cadence: expected A, lands on F#m). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- When C# comes, swap the scale's E for E#: 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The first chord is D; the ear learns where home is within a second. F#m, D, E, Bm carry the song: vi–IV–V–ii relative to A, i–VI–VII–iv relative to F#m. C# is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → F#m (V → vi in A, VII → i in F#m): Aeolian arrival — rises a whole tone into home. The final chord is F#m; the ear comes to rest in F#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.
Manga - Dünyanın Sonuna Doğmuşum 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Music: Manga
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.