Manga - Işıkları Söndürseler Bile - Chord

Key F major – D minor Chords Dm, Bb, Gm, Am, Em, F Easy key G

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Capo 0

Dm     Gm      Bb            Dm
Halim ortada yine ellerimde kan
     Gm        Bb            Dm
Hiç derinlere inen kalmadı yaram
       Gm        Bb             Dm
Ben ki kalbine gömüp içerde ağlayan
      Gm       Bb                Dm
Şimdi aksine çıkıp zincirlerini kıran

Dm            Gm                   Bb
Sözüme güven dönmem ben kahpelik etmem

Bu yola bir baş koydum seni kimseye yedirmem
Dm                 Gm
İçini rahat tut, başını hep dik tut
Bb
Sabret bu duvarları bir gün yine yıkacağız elbet

Bb          Am         Dm       Em    F   Gm
Ben senden vazgeçmem, ışıkları söndürseler bile
Bb          Am        Dm     Em      F         Gm
Korkuma yenilmem ellerim kollarım tutmasın isterse
Bb           Dm
Ben sensiz pes etmem 

Dm       Gm      Bb               Dm
Bir akıl versen bana kurtulsa şu beden
     Gm         Bb            Dm
Bir isim bulsan bana duyanı ürküten
        Gm      Bb             Dm
Bir yol açsan ufukta yollara düşsem
       Gm       Bb                   Dm
Yeter ki inan bana başka bir şey istemem

End of song Play again?

Manga - Işıkları Söndürseler Bile Tabs

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Harmony analysis

Manga – Işıkları Söndürseler Bile: key and chord analysis

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

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it both starts and finishes on Dm and Dm is heard 15 times against 2 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	2×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	12×
iii	Am	Mediant — a tonic-family shade	A · C · E	2×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	13×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	15×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
vii	Em	Chromatic colour chordoutside the key	E · G · B	2×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	15×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
ii	Em	Chromatic colour chordoutside the key	E · G · B	2×
III	F	Relative major — the bright side	F · A · C	2×
iv	Gm	Subdominant — moves away from home	G · Bb · D	12×
v	Am	Minor dominant — soft pull	A · C · E	2×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	13×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 46 times in total; 5 of them sit naturally inside the shared scale. Em step outside the scale as colour chords.

Chord movement

Bb Dm FIV → vi DmVI → iVI → i ×10
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2

The move to watch is Bb → Dm, heard 10 times. From the Dm side it is VI → i (VI → i: falls a half step into home); from the F side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. Dm, Bb, Gm, Am carry the song: vi–IV–ii–iii relative to F, i–VI–iv–v relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Dm (IV → vi in F, VI → i in Dm): VI → i — falls a half step into home. It closes on Dm, letting the Dm 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.