Moğollar - Birşey Yapmalı - Chord

Key A major – F# minor Chords F#m, A, Ab, B Easy key F (capo 4)

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Capo 0

F#m  F#m  A  F#m  F#m  B  F#m  F#m  A  B

F#m       A  Ab  F#m    A   Ab
Derin uykudaydım sesine uyandım
F#m        A  Ab  F#m          Ab  F#m
Kan içinde kaldım uyku tutmadı
F#m       A  Ab  F#m         A   Ab
Yolun ortasında  henüz onaltısıında
F#m        A  Ab  F#m          Ab  F#m
Vuruyorlar oyysa  bişey yapmadı
F#m         A  Ab  F#m       A  Ab
Sanki onlar hancı  halkına yabancı
F#m         A    Ab  F#m         Ab  F#m
Biz ise kiracıyızda  evden atmalı
F#m       A    Ab  F#m        A   Ab
Birisi oy peşinde  öteki rant işinde
F#m        A     Ab  F#m
Kıyamet değilse bile bişey kopmalı

A  A  B  A  B

F#m           A    F#m           B    F#m           A
Bişey yapmalı hey, bişey yapmalı hey, bişey yapmalı hey

F#m         A  Ab  F#m          A  Ab
Herkesin fikrince  farkımız çok innce
F#m       A  Ab  F#m           Ab  F#m
Yutmaya gelince  demir lokmayı
F#m    A   Ab  F#m       A  Ab
Hileli terazi  han hamam arazi
F#m      A   Ab    F#m          Ab  F#m
Konuşanı asi deyip içeri tıkmalı
F#m     A   Ab  F#m        A  Ab
Faili meçhuller çöple beslenenler
F#m         A   Ab  F#m        Ab  F#m
Çalıp duran ziller  uyandırmalı
F#m       A  Ab  F#m        A   Ab
Yolun ortasında  henüz onaltısında
F#m       A   Ab      F#m           Ab  F#m
İnsan insanım diyorsa bişey yapmalı

F#m           A    F#m           B    F#m           A
Bişey yapmalı hey, bişey yapmalı hey, bişey yapmalı hey

End of song Play again?

Moğollar - Birşey Yapmalı Tabs

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Harmony analysis

Moğollar – Birşey Yapmalı: key and chord analysis

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

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)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between A major and F# minor because it comes to rest on A, it opens on F#m and F#m is heard 51 times against 33 for A. Try reading the chords both ways and see which feels more like home to you.

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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	33×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
II	B	Chromatic colour chordoutside the key	B · D# · F#	6×
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#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	51×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—
VII	Ab	Chromatic colour chordoutside the key	Ab · C · Eb	31×

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	51×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
II	Ab	Chromatic colour chordoutside the key	Ab · C · Eb	31×
III	A	Relative major — the bright side	A · C# · E	33×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
IV	B	Major IV — Dorian / melodic-minor colourmodal colour	B · D# · F#	6×
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#	—
VI	D	Submediant — warm colour	D · F# · A	—
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 121 times in total; 2 of them sit naturally inside the shared scale. Ab, B 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

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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — 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 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

4 semitones down · capo 4 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening F#m lays a solid floor for everything that follows. The backbone is F#m, A, Ab, B — vi–I–VII–II from the A side, i–III–II–IV from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is A; the ear comes to rest in A.

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.

Moğollar - Birşey Yapmalı 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.

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Lyrics: Turgut Berkes

Music: Cahit Berkay

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