Manifest - Daha İyi - Chord

Key C major – A minor Chords Am, Dm, E7, F, G Easy key G (capo 5)

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Capo 0

Am  Am  Dm  Am

Am
Yalnız kalmadım işte, görcen sen bu gidişle
Dm              E7
Sensiz daha iyi, sensiz bensiz daha iyi
Am
Kaybettin bu dönüşle, şimdi ne kaldı elinde?
Dm              E7                     Am
Sensiz daha iyi, sensiz bensiz daha iyiii

Am
Sorsunlar bana, Derdi yok sayanlar
Dm              E7               
Kalbimden sana, dik gelir yokuşlar
Am
Olmazlara inat, dökülen onca teri
Dm             E7                 Am
Silmedim inan, kapattım o defteri ya

Am                                  Dm
Yerime, koyamadın kimseyi benim yerime 
            E7                         Am
Neyine, kapılıp da kaybettin o son eli de?
                                      Dm
Deliye, dönersin böyle bastım bam teline
               E7
Deneme, o gemi aldı yol
             Am
Dön artık evine

Am
Yalnız kalmadım işte, görcen sen bu gidişle 
Dm              E7
Sensiz daha iyi, sensiz bensiz daha iyi
Am
Kaybettin bu dönüşle, şimdi ne kaldı elinde?
Dm              E7                     Am
Sensiz daha iyi, sensiz bensiz daha iyiii

(Yaz yaz yaz)

Am
Yaz yaz aklının bi kenarına yaz

Kendimi seçtim en sonunda
Dm              E7
Senle geçen tüm günlerimin hatrına

       Am
Gözünü aç kapa beni belki orda bulursun

Üşüyünce anılarına sarılıp uyursun
   Dm
Pişman olup da dönme geri
E7
Kapattım o defteri ya

Am
Yalnız kalmadım işte, görcen sen bu gidişle 
Dm              E7
Sensiz daha iyi, sensiz bensiz daha iyi
Am
Kaybettin bu dönüşle, şimdi ne kaldı elinde?
Dm              E7                     Am
Sensiz daha iyi, sensiz bensiz daha iyiii

(yeah yeah)

F
Batırdığın güneş yine bir gün doğabilir
Dm
Gözünün önünde dursa da yakabilir
Am
Kalıcı olmuyor hiçbi’ şey
        G
En dibi görmeden hazır zirveye kurulan

F
Hadi şimdi gözümün içine bak, söyle
Dm
Kaldı mı yanında seni seven biri böyle
Am
Kim bilebilirdi, hepsi tersine dönecek
E7
Ben parlarken senin ışığın sönecek

Am
Yalnız kalmadım işte, görcen sen bu gidişle 
Dm              E7
Sensiz daha iyi, sensiz bensiz daha iyi
Am
Kaybettin bu dönüşle, şimdi ne kaldı elinde?
Dm              E7                     Am
Sensiz daha iyi, sensiz bensiz daha iyiii

End of song Play again?

Manifest - Daha İyi Tabs

NotesX

Harmony analysis

Manifest – Daha İyi: key and chord analysis

The song opens on Am and ends on Am. 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 it both starts and finishes on Am, Am is heard 25 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	17×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	15×
IV	F	Subdominant — moves away from home	F · A · C	2×
V	G	Dominant — strongest pull home	G · B · D	1×
vi	Am	Relative minor — the melancholy side	A · C · E	25×
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	25×
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	17×
v	Em	Minor dominant — soft pull	E · G · B	—
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	15×
VI	F	Submediant — warm colour	F · A · C	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	1×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 60 times in total; 4 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 E7 is V7/vi, a secondary dominant heading for Am.

Chord movement

E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×15
Dm E7 Cii → V7/vi Amiv → V7iv → V ×14
Dm Am Cii → vi Amiv → iminor plagal ×3

The move to watch is E7 → Am, heard 15 times. From the Am side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V7/vi → vi (secondary resolution: E7 resolves a fourth up to Am). 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over E7, land on E, G#, B — the chord's own tones always sound right on strong beats.
When E7 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

The first chord is Am; the ear learns where home is within a second. The chords that keep coming back are Am, Dm, E7, F; read them as vi–ii–V7/vi–IV in C or i–iv–V7–VI in Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on E7 → Am (V7/vi → vi in C, V7 → i in Am): harmonic-minor cadence — the major V resolves dramatically. The final chord is Am; the ear comes to rest in Am.

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.