Manga - Hint Kumaşı - Chord

Key C major – A minor Chords F, G, Am, E Easy key G (capo 5)

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Capo 0

F              G
Nerenin havası bu güzelim ah
Am
Hint Kumaşı mı kalmış şu devirde
F            G
Sana benden bir tavsiye gel
E
İnceldiği yerden kopalım biz

F  G  Am  F  G  E  F  G  Am  F  G  E

Am
Güzel günler geçti çabucak

Yakında büyük fırtına kopacak
G                              F
Güvendiğin dağlar önce seni yutacak
Am
Kendini prenses mi sanıyorsun

Sarayına soytarı mı arıyorsun
G                                  F
Ben taktım o ismi sana çok yanılıyorsun

F
Seni kimler doldurmuş
G
Kimler senden medet ummuş
Am
Hiç dönüp arkana baktın mı dalkavuklar doluşmuş
F                          G
Beni kimler hor görmüş kimler benden üstünmüş
E
Sonunda olan bize olmuş

F              G
Nerenin havası bu güzelim ah
Am
Hint Kumaşı mı kalmış şu devir de
F             G
Sana benden bir tavsiye gel
E
İnceldiği yerden kopalım biz

Am
Kanma masallara gerçek değil

Aklını başına al haddini bil
G                            F
İstersen kal istersen git kapı açık
Am
Sabır küpü gibi bir halim mi var

Bu ilişki artık kalbe zarar
G                                 F
Bundan sonra herkez kendi yoluna bakar

F  G  Am  F  G  E  F  G  Am  F  G  E

Herhalde bana ait bir şeyi öğrenmek hakkımdır
Hayır, sana ait bir mesele değil bu
Resminle benim aramdaki bir durum seni ilgilendirmez
Ben senin resmine aşığım
Ben senin resmine değilde sana aşık olsaydım o zaman ne olacaktı
Belki bir kere bile bakmayacaktın yüzüme
Belkide alay edecektin sevgimle
Halbuki resmin bana dostça bakıyor
Ve ebediyen bakacak

F
Bugün İnceldiği yerden
G
Bugün İnceldiği yerden
Am
Bugün İnceldiği yerden 
E
Bugün kopalım biz şimdi

F
Bugün İnceldiği yerden
G
Bugün İnceldiği yerden
E
Bugün İnceldiği yerden 
                      F
Bugün kopalım biz şimdi

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Manga - Hint Kumaşı Tabs

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Harmony analysis

Manga – Hint Kumaşı: key and chord analysis

The song opens on F and ends on F. 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 Am is heard 12 times while C never appears and 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	9×
IV	F	Subdominant — moves away from home	F · A · C	21×
V	G	Dominant — strongest pull home	G · B · D	20×
vi	Am	Relative minor — the melancholy side	A · C · E	12×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	12×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
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	9×
VI	F	Submediant — warm colour	F · A · C	21×
VII	G	Subtonic — steps back to the tonic	G · B · D	20×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 62 times in total; 3 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.

Chord movement

F G CIV → VIV → V AmVI → VIIVI → VII ×16
G Am CV → videceptive cadence AmVII → iAeolian arrival ×8
E Am CV/vi → vi AmV → iharmonic-minor cadence ×2
F Am CIV → vi AmVI → iVI → i ×2

The move to watch is F → G, heard 16 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

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 F, land on F, A, C — 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.
Over Am, land on A, C, E — 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 down · capo 5 keeps the original pitch

The song's harmonic story

Starting on F, the song gives away its key from the very first bar. The chords that keep coming back are F, G, Am, E; read them as IV–V–vi–V/vi in C or VI–VII–i–V in 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. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. It closes on F, letting the C 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.