Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Zeynep Bastık - Martılar - Chord
Key Ab major – F minor Chords Fm, Bbm, C7 Easy key C
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Key: Ab | Fm
Capo: 0
Fm Bbm
Dinlettim boynu bükük şarkılar
C7 Fm
Ses etmem susarım anıların hatrına
Bbm
Sen yoksan ölümden ne farkı var
C7 Fm
Gel etme, dön artık üzülecek martılar
Fm
Kitabına uydur sen yine bana gel
Bbm
Ben kölen olurum, sen gitarıma tel
C7
İlaç ol yaralarıma her acı geçer
Fm
Beyaz ol anılarıma bu nasıl kader
Fm
Niyeti çatçat çatlatmaksa
Bbm
İnadına patpat salla kalça
C7
Bir de peşimde gezinen alçaklar var
Fm
Deliricem sensiz akşamlarda
Fm
Böyle sevmeden anlamazlar
Bbm
Görünce durmuyor kan damarda
C7
Gelse kaderimi yazsa baştan
Fm
Biraz daha öpsem şu bal yanaktan
Fm Bbm
Dinlettim boynu bükük şarkılar
C7 Fm
Ses etmem susarım anıların hatrına
Bbm
Sen yoksan ölümden ne farkı var
C7 Fm
Gel etme, dön artık üzülecek martılar
Fm Bbm C7 Fm
Fm
Anlatsam ağlar şu duvarlar
Bbm
Kumar gibi aşk ki şansım yok
C7 Fm
Ne zaman uyansam konuşsam düşünsem
Yine sen o o o
Fm
Böyle sevmeden anlamazlar
Bbm
Görünce durmuyor kan damarda
C7
Gelse kaderimi yazsa baştan
Fm
Biraz daha öpsem şu bal yanaktan
Fm Bbm
Dinlettim boynu bükük şarkılar
C7 Fm
Ses etmem susarım anıların hatrına
Bbm
Sen yoksan ölümden ne farkı var
C7 Fm
Gel etme, dön artık üzülecek martılar
End of song Play again?
Zeynep Bastık - Martılar Tabs
NotesX
Harmony analysis
Zeynep Bastık – Martılar: key and chord analysis
The song opens on Fm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
- #7 = E (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 F minor side because it both starts and finishes on Fm, Fm is heard 21 times while Ab never appears and the major V chord points straight at Fm. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 12× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 12× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 21× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 21× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 12× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 12× |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 45 times in total; 2 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C7 is V7/vi, a secondary dominant heading for Fm.
Chord movement
- C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×12
- Bbm C7 Abii → V7/vi Fmiv → V7iv → V ×12
The move to watch is C7 → Fm, heard 12 times. From the Fm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Ab side it reads V7/vi → vi (secondary resolution: C7 resolves a fourth up to Fm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over C7, land on C, E, G — the chord's own tones always sound right on strong beats.
- When C7 comes, swap the scale's Eb for E: 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. The backbone is Fm, Bbm, C7 — vi–ii–V7/vi from the Ab side, i–iv–V7 from the Fm side. C7 is the interesting twist: in Ab it is a chromatic chord (V7/vi), while in Fm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C7 → Fm (V7/vi → vi in Ab, V7 → i in Fm): harmonic-minor cadence — the major V resolves dramatically. Ending on Fm, the song seals Fm 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.
Zeynep Bastık - Martılar Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Emrah KarakuyuMusic: Emrah Karakuyu
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