Zeynep Bastık - Me Voy (Yasmin Levy) - Chord

Key F major – D minor Chords Bbmaj7, Am7, Dm, C, Gm7, A7, B7, Em7 … Easy key C (capo 5)

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Capo 0

Dm  C  Bbmaj7  Gm7  A7

Dm   C                Bbmaj7     A7
Öyle  sarılınca daha zor bu son gece
Dm    C               Bbmaj7     A7
Böyle, böyle bitiyor aşk götürdükleriyle
  Gm7       Am7  Dm      C        Bbmaj7
Dokununca yanacağıııız buna yok çare, anla
Gm7
Bu son

Gm7  A7      Dm         Bbmaj7
Bir an uzaktan gördüm sanarsan
Gm7              Bbmaj7          A7
Hatırlatır beni sana, sakın aldanma

Em7  Bm7          Am7           B7
Elbet uzadıkça zor, kalbim zaten kor
Em7    D               C 
Anlatma ayrılıklar hep var
            B7
Tükenince yalanlar
Am7            Bm7   Em7          Cmaj7
Dağılırken o bulutlaaar buna ne çare, anla
Am7    B7
Bu son

Am7  B7       Em7      Cmaj7
Bir an uzaktan gördüm sanarsan
Am7              Cmaj7          B7
Hatırlatır beni sana, sakın aldanma

End of song Play again?

Zeynep Bastık - Me Voy (Yasmin Levy) Tabs

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Harmony analysis

Zeynep Bastık – Me Voy (Yasmin Levy): key and chord analysis

The song opens on Dm and ends on B7. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 D minor side because it opens on Dm, Dm is heard 5 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	5×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	6×
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	5×
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	6×
#IV7	B7	Chromatic colour chordoutside the key	B · D# · F# · A	5×
#iv7	Bm7	Chromatic colour chordoutside the key	B · D · F# · A	2×
V	C	Dominant — strongest pull home	C · E · G	5×
Vmaj7	Cmaj7	Chromatic colour chordoutside the key	C · E · G · B	3×
vi	Dm	Relative minor — the melancholy side	D · F · A	5×
V/ii	D	Secondary dominant V/ii — leads to Gmsecondary dominant	D · F# · A	1×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
vii7	Em7	Chromatic colour chordoutside the key	E · G · B · D	4×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	5×
V/iv	D	Secondary dominant V/iv — leads to Gmsecondary dominant	D · F# · A	1×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
ii7	Em7	Chromatic colour chordoutside the key	E · G · B · D	4×
III	F	Relative major — the bright side	F · A · C	—
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	5×
v7	Am7	Minor dominant — soft pull	A · C · E · G	6×
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	5×
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	6×
#VI7	B7	Chromatic colour chordoutside the key	B · D# · F# · A	5×
#vi7	Bm7	Chromatic colour chordoutside the key	B · D · F# · A	2×
VII	C	Subtonic — steps back to the tonic	C · E · G	5×
VIImaj7	Cmaj7	Chromatic colour chordoutside the key	C · E · G · B	3×

Analysis

The key pair is F major and its relative D minor (1 flat). 11 different chords appear 47 times in total; 5 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×3
Gm7 A7 Fii7 → V7/vi Dmiv7 → V7iv → V ×2
B7 Em7 F#IV7 → vii7secondary resolution Dm#VI7 → ii7 ×2
Am7 Dm Fiii7 → vi Dmv7 → inatural-minor cadence ×1

The move to watch is A7 → Dm, heard 3 times. From the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Am7, 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.
When A7 comes, swap the scale's C for C#: 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. Bbmaj7, Am7, Dm, C carry the song: IVmaj7–iii7–vi–V relative to F, VImaj7–v7–i–VII relative to Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A7 → Dm (V7/vi → vi in F, V7 → i in Dm): harmonic-minor cadence — the major V resolves dramatically. Ending on B7, the song seals F 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.