Manifest - Hileli - Ajda Pekkan - Chord

Key Eb major – C minor Chords Gm, Fm, Cm, Bb, Ab Easy key C (capo 3)

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Capo 0

Gm  Gm  Fm  Cm  Ab  Bb
x2

             Gm
Kalbim sende kalsın (of)

Sana daha çok lazım
   Fm       Cm
Gezme başka tende (bekle)
       Ab       Bb
Eridim yandım aşkından

Gm
Derdim bahane, yapsan bi hamle

Tek sensin çare
Fm    Cm
Tut beni düşüyorum
      Ab   Bb
Sakin kalaamıyorum

   Gm
Senden kaçamadım
            Fm        Cm
İyi ki bırakmadın peşimi

Sabaha kadar
Ab         Bb
Oyna at zarları hileli
Gm                    Fm        Cm
Kaçamadım, iyi ki bırakmadın peşimi

Sabaha kadar
Ab         Bb
Oyna at zarları hileli

Gm  Gm  Fm  Cm  Ab  Bb
x2

Gm
Gururuna kaybettin
                   Fm
İstemiyordun sözde
Cm
Bir adım sana yaklaştıkça
Ab           Bb
Koştun ellerime

        Gm
Çıkarıyorum çileden saklama hiç

Net ol bırak o tatlı dilin
Fm      Cm
Seni kurtaramaz kalbimden
       Ab          Bb
Şükret çıkardım dipten

     Gm                          Bb
Tepe taklak edebilir ansızın gidişim
                Cm
Yeterince affedişimden kaybettim
   Fm
Fazla bile sabrettim

    Gm                            Bb
Hep lafta, o vaat ettiğin sevgili kim
                    Cm
Son şansın, kendin için mahvetmeden
        Fm        Gm
Gel ben de istiyorken

   Gm
Senden kaçamadım
            Fm        Cm
İyi ki bırakmadın peşimi

Sabaha kadar
Ab         Bb
Oyna at zarları hileli
Gm                    Fm        Cm
Kaçamadım, iyi ki bırakmadın peşimi

Sabaha kadar
Ab         Bb
Oyna at zarları hileli

Gm  Bb  Cm  Fm

Gm        Bb           Cm             Fm
 Elbet ayağıma gelecek, pes edeceksin yalnızlığına
Gm         Bb         Cm                Fm
 Bizim gibisi gelmeyecek, yazık etme bi hiç uğruna
Gm         Bb         Cm
 Oyalandım dönene kadaar
               Fm
 Yeminler bozdurur bu dudaklar
Gm          Bb
 Sebepsiz sevmişim anla
 Cm             Fm   Gm
 İlle de sen inatlaaaaa

End of song Play again?

Manifest - Hileli - Ajda Pekkan Tabs

NotesX

Harmony analysis

Manifest – Hileli - Ajda Pekkan: key and chord analysis

The song opens on Gm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because Cm is heard 17 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	17×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	21×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	10×
V	Bb	Dominant — strongest pull home	Bb · D · F	17×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	17×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	17×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	17×
v	Gm	Minor dominant — soft pull	G · Bb · D	21×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	10×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	17×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 82 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

Fm Cm Ebii → vi Cmiv → iminor plagal ×10
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×10
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×7

The move to watch is Fm → Cm, heard 10 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. The backbone is Gm, Fm, Cm, Bb — iii–ii–vi–V from the Eb side, v–iv–i–VII from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. Ending on Gm, the song seals Eb as home.

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.