Manifest - Outro - Chord

Key Db major – Bb minor Chords Gbmaj7, Fm7, Bbm7, Bm7 Easy key C (capo 1)

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Capo 0

Bbm7  Gbmaj7  Fm7
x2

Bbm7            Gbmaj7         Fm7
Yaşayamadığım eski günleri özledim

Harcanan gençliğimde yalanların payı var
Bbm7             Gbmaj7          Fm7
Mutlu olmak için sebep arar haldeyim

Üç günlük dünyada savaşmadan durmayanla

Bbm7           Gbmaj7
Başkasına suçu atma
           Fm7
Senin gibi rahat uyurum mu sandın asla
          Bm7                       Gbmaj7
Sevdiklerimin hatırına güçlü kaldım hala
             Fm7
Susmadım bi’ kez bile umudum hayata

Bbm7             Gbmaj7           Fm7
Kazanmalıyım söz verdim eski kendime

Yalnız hissettiğimde hatırlatanlarım var
Bbm7              Gbmaj7          Fm7
Bazen yetmiyor bu kaldırımlar yürümeme
                                      Bbm7  Gbmaj7  Fm7
Sınırları, kuralları yıktım kanatlarımla

Bbm7  Gbmaj7  Fm7

End of song Play again?

Manifest - Outro Tabs

NotesX

Harmony analysis

Manifest – Outro: key and chord analysis

The song opens on Bbm7 and ends on Fm7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 8 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	—
iii7	Fm7	Mediant — a tonic-family shade	F · Ab · C · Eb	9×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	9×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi7	Bbm7	Relative minor — the melancholy side	Bb · Db · F · Ab	8×
bvii7	Bm7	Chromatic colour chordoutside the key	B · D · F# · A	1×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i7	Bbm7	Tonic — home	Bb · Db · F · Ab	8×
bii7	Bm7	Chromatic colour chordoutside the key	B · D · F# · A	1×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	—
v7	Fm7	Minor dominant — soft pull	F · Ab · C · Eb	9×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	9×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	—

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 27 times in total; 3 of them sit naturally inside the shared scale. Bm7 step outside the scale as colour chords.

Chord movement

Fm7 Bbm7 Dbiii7 → vi7 Bbmv7 → i7natural-minor cadence ×7

The move to watch is Fm7 → Bbm7, heard 7 times. From the Bbm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Gbmaj7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Bbm7, land on Bb, Db, 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

Starting on Bbm7, the song gives away its key from the very first bar. The chords that keep coming back are Gbmaj7, Fm7, Bbm7, Bm7; read them as IVmaj7–iii7–vi7–bvii7 in Db or VImaj7–v7–i7–bii7 in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm7 → Bbm7 (iii7 → vi7 in Db, v7 → i7 in Bbm): natural-minor cadence — gentle, modal arrival. Ending on Fm7, the song seals Db 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.