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)
Kahraman Deniz - Hiçbir Şeyin Anlamı Yok - Chord
Key A major – F# minor Chords D, F#m, Bm, A, C#m Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
F#m D Bm D
F#m D
Hüzün değil yüzünde gördüğüm, üzüldüğünde söndüğüm
Bm D
Olmaz ben öfkeliyim, her şeye bugün
F#m
Kendimi tutamam söylerim kimseye uymaz mı sözlerim
D Bm D
Yorulur bedenim çöker dizlerim, ah düşe yazdım
F#m D
Belki daha feryat etsem, gözler güzeli görürdü
Bm D
Öyle zalim ki insanlar, gökyüzü bile bölündü
F#m
Gönlü geçemedim tam ortasında yolda kaldı
D Bm D
Aklın yarısı yar da kaldı, bırakın gerisi bende kalsın
F#m D
Neden bu halim böyle tutmaz ruhumdan hiç kimse
A Bm D
Aynı şeyi düşünmekteyiz, hiçbir şeyin anlamı yok
F#m D
Neden bu halim böyle çirkin yüzüme bakta söyle
A Bm F#m
Haykır sen de benimle, hiçbir şeyin anlamı yok
F#m D Bm A Bm D
F#m D A Bm C#m
F#m
Ölümün önünde durulmaz, gelirse kimlik sormaz
D Bm D F#m
Sonsuz olmayı mı düşledim, bilmem ki bu çabalar neye
D
Kırdım kırılgan ne varsa, dağıldı parçalarım
Bm D
Unutuldu dünkü sözler, yankıları bende saklı
F#m
Sövseler yeterdi, dövdüler üstelik
D Bm D
Biliyorum yeterince iyi değilim, bu dünya için
F#m
Kendimi adadım, işim bildim, gücüm bildim
D Bm D
İçimdeki savaşın bitesi yok, evrende kayboldu sesim
End of song Play again?
Kahraman Deniz - Hiçbir Şeyin Anlamı Yok Tabs
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Harmony analysis
Kahraman Deniz – Hiçbir Şeyin Anlamı Yok: key and chord analysis
The song opens on F#m and ends on D. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because it opens on F#m and F#m is heard 14 times against 4 for A. 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 | 4× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 14× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 1× |
| 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 | 24× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 14× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 14× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 4× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 14× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 1× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 24× |
| 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). 5 different chords appear 57 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- D F#m AIV → vi F#mVI → iVI → i ×10
- D A AIV → Iplagal cadence F#mVI → III ×3
- Bm F#m Aii → vi F#miv → iminor plagal ×1
- C#m F#m Aiii → vi F#mv → inatural-minor cadence ×1
The move to watch is D → F#m, heard 10 times. From the F#m side it is VI → i (VI → i: falls a half step into home); from the A side it reads IV → vi. 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — 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
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening F#m lays a solid floor for everything that follows. The backbone is D, F#m, Bm, A — IV–vi–ii–I from the A side, VI–i–iv–III from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → F#m (IV → vi in A, VI → i in F#m): VI → i — falls a half step into home. The final chord is D; 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.
Kahraman Deniz - Hiçbir Şeyin Anlamı Yok 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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