Manifest - Başrol Sensin - Chord

Key E major – C# minor Chords C#m7, Amaj7, F#m7, G#7 Easy key G

Add to Repertoire

No ratings yet

or your user informations

Capo 0

C#m7  F#m7  Amaj7  G#7

C#m7               F#m7
Ben bu anı yaşayıp gördüm
              Amaj7
Kalbim deliye döndü
   G#7
Artık, artık tutamam içimde
C#m7
Dünya tersine dönse bile
F#m7
Kıvılcım alev alır, doğar küllerinden
Amaj7
Cesur adımlarım herkesin dilinde
G#7
Korku yok, yok çıkan sesimde

C#m7               F#m7
Dert değil düşmek, deneme vazgeçirmeye
Amaj7        G#7
Titrese bile omuzların durma
C#m7             F#m7
Kaybolduğum anda onlar hep yanımda
Amaj7                 G#7
Aldım rüzgârı ardıma, bakmam asla

    C#m7           F#m7
Bi' hayalle geldik biz bu günlere
      Amaj7                         G#7
Artık korkmak, kaçmak yok bundan böyle
        C#m7               F#m7
Bizimle gel sen de, kır zincirleri, düşünme
       Amaj7                        G#7
Fark еdersin, başrol sensin bu filmde
      C#m7
Vazgеçme
x2

C#m7
Herhangi bi' akşamdı
        F#m7
Çıkasım vardı yokuşlardan
          Amaj7
Kamera ve şöhrete aldırmam
        G#7
Hedefim çok, daha yolum var
C#m7
Deniyorum 7/24, peşindeyim
       F#m7
Gecemi sabah eden gençliğime yemin ederim
      Amaj7
Kanma güldüğüme, buz kadar sert durabilirim
    G#7
Kovalama, benim gibisini göremedin hiç

C#m7               F#m7
Dert değil düşmek, deneme vazgeçirmeye
Amaj7        G#7
Titrese bile omuzların durma
C#m7             F#m7
Kaybolduğum anda onlar hep yanımda
Amaj7                 G#7
Aldım rüzgârı ardıma, bakmam asla

    C#m7           F#m7
Bi' hayalle geldik biz bu günlere
      Amaj7                         G#7
Artık korkmak, kaçmak yok bundan böyle
        C#m7               F#m7
Bizimle gel sen de, kır zincirleri, düşünme
       Amaj7                        G#7
Fark еdersin, başrol sensin bu filmde
      C#m7
Vazgеçme

    C#m7           F#m7
Bi' hayalle geldik biz bu günlere
      Amaj7                         G#7
Artık korkmak, kaçmak yok bundan böyle
        C#m7               F#m7
Bizimle gel sen de, kır zincirleri, düşünme
       Amaj7                        G#7
Fark еdersin, başrol sensin bu filmde
      Amaj7
Vazgеçme

Amaj7           F#m7                  C#m7
Zor geldi belki başta, savaştım şeytanlarla
            G#7                 Amaj7
En çok da zamanla, tam kaybetmişken
                    F#m7
Sizi buldum, çıktık dipten
             C#m7
Omzuma yüklenmişken hayat
  G#7
Üzmedi ilk defa

    C#m7           F#m7
Bi' hayalle geldik biz bu günlere
      Amaj7                         G#7
Artık korkmak, kaçmak yok bundan böyle
        C#m7               F#m7
Bizimle gel sen de, kır zincirleri, düşünme
       Amaj7                        G#7
Fark еdersin, başrol sensin bu filmde
      C#m7
Vazgеçme
x2

End of song Play again?

Manifest - Başrol Sensin Tabs

NotesX

Harmony analysis

Manifest – Başrol Sensin: key and chord analysis

The song opens on C#m7 and ends on C#m7. Its chords belong to both E major and C#m, so every chord below is read both ways.

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D# (leading tone, pulls home)
4 = A (the note that leans on the 3rd)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)
#7 = B# (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 C# minor side because it both starts and finishes on C#m, C#m is heard 22 times while E never appears and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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 E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	—
ii7	F#m7	Supertonic — prepares the dominant	F# · A · C# · E	19×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	—
V7/vi	G#7	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D# · F#	19×
IVmaj7	Amaj7	Subdominant — moves away from home	A · C# · E · G#	20×
V	B	Dominant — strongest pull home	B · D# · F#	—
vi7	C#m7	Relative minor — the melancholy side	C# · E · G# · B	22×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i7	C#m7	Tonic — home	C# · E · G# · B	22×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	—
iv7	F#m7	Subdominant — moves away from home	F# · A · C# · E	19×
v	G#m	Minor dominant — soft pull	G# · B · D#	—
V7	G#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D# · F#	19×
VImaj7	Amaj7	Submediant — warm colour	A · C# · E · G#	20×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	—

Analysis

The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 80 times in total; 3 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G#7 is V7/vi, a secondary dominant heading for C#m.

Chord movement

G#7 C#m7 EV7/vi → vi7secondary resolution C#mV7 → i7harmonic-minor cadence ×17
F#m7 C#m7 Eii7 → vi7 C#miv7 → i7minor plagal ×2

The move to watch is G#7 → C#m7, heard 17 times. From the C#m side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the E side it reads V7/vi → vi7 (secondary resolution: G#7 resolves a fourth up to C#m7). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
When G#7 comes, swap the scale's B for B#: 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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

3 semitones up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The opening C#m7 lays a solid floor for everything that follows. The chords that keep coming back are C#m7, Amaj7, F#m7, G#7; read them as vi7–IVmaj7–ii7–V7/vi in E or i7–VImaj7–iv7–V7 in C#m. G#7 is the interesting twist: in E it is a chromatic chord (V7/vi), while in C#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on G#7 → C#m7 (V7/vi → vi7 in E, V7 → i7 in C#m): harmonic-minor cadence — the major V resolves dramatically. The final chord is C#m7; the ear comes to rest in C#m.

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.