Duman - Manası Yok - Chord

Key C major – A minor Chords Bm, E, G, A, F#m Easy key F (capo 7)

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Capo 0

Bm               E
Akıldan geçen yolu kazmışlar
Bm                E
Ben geçer miyim, yok
Bm              E
Ah bu diyarda kimi yakmışlar
G                A
Haberin var mı koç    

Bm              E
Saygıdan geçen yolu yakmışlar
Bm                E
Ben geçer miyim, yok
Bm             E
Ah bu diyarda kimi asmışlar
G              A
Haberin var mı koç
 
Bm              E
Solundan geçen yolu asmışlar
Bm                E
Ben geçer miyim? Yok
Bm              E 
Komşu toprağa kimi gömmüşler
G               A
Haberin var mı koç    

         Bm     F#m
Manası yoktur yok    
E                    
Yok bu alemin       
         Bm     F#m    
Manası yoktur yok    
E                    
Yok bu gafletin      
 
Bm              E
Gönülden geçen yolu gömmüşler
Bm                E
Ben geçer miyim, yok
Bm             E
Ah bu diyarda kimi kesmişler
G               A
Haberin var mı koç

Bm               E
Sanattan geçen yolu kesmişler
Bm           E
Ben geçer miyim
Bm              E        
Karşı köprüden kimi atmışlar
G               A
Haberin var mı koç

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Duman - Manası Yok Tabs

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Harmony analysis

Duman – Manası Yok: key and chord analysis

The song opens on Bm and ends on A. 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 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	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	17×
IV	F	Subdominant — moves away from home	F · A · C	—
#iv	F#m	Chromatic colour chordoutside the key	F# · A · C#	2×
V	G	Dominant — strongest pull home	G · B · D	5×
vi	Am	Relative minor — the melancholy side	A · C · E	—
VI	A	Chromatic colour chordoutside the key	A · C# · E	5×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	17×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	—
I	A	Chromatic colour chordoutside the key	A · C# · E	5×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
ii	Bm	Chromatic colour chordoutside the key	B · D · F#	17×
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	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	17×
VI	F	Submediant — warm colour	F · A · C	—
#vi	F#m	Chromatic colour chordoutside the key	F# · A · C#	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	5×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 46 times in total; 1 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 E is V/vi, a secondary dominant heading for Am. Bm, A, F#m step outside the scale as colour chords.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Bm, land on B, D, F# — 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.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
When E 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 up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. Bm, E, G, A carry the song: vii–V/vi–V–VI relative to C, ii–V–VII–I relative to Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. The final chord is A; 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.