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)
Zeynep Bastık - Ultrapop - Chord
Key F major – D minor Chords Fmaj7, Bbmaj7, Gm, Bbm7, C7, Dm, A7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Fmaj7 Fmaj7 Bbmaj7 Bbmaj7
Fmaj7 Fmaj7 Bbmaj7 Bbmaj7 Bbm7 C7
Fmaj7 Bbmaj7
Gerçek mi bu yoksa zihnimin bir ürünü mü?
Fmaj7 Bbmaj7
Geldin geleli çıkardın zirvelere bugünümü
Dm
Halledilemeyen her ne vardıysa
Gm
Kaldı geçmişte
Bbmaj7 Gm
Dünde yaşamak inan ki sadece
A7
Ölmektir bugünde
Fmaj7
Gel yine yansın ışıklarım
Bbmaj7
Oldun miladım
Fmaj7
İkimiz olduğumuzca yok hiç sorun
Je t’aime canım artık ömür boyu
Bbmaj7
Yanmalı bu alev
Gm Fmaj7
Ben beni seninle buluyorum
Fmaj7 Fmaj7 Bbmaj7 Bbmaj7
Fmaj7 Bbmaj7
Sana çıkan bütün yollar yolum, koyulurum
Fmaj7
Zilyon kere daha gelsem yine
Bbmaj7
Senin olurum
End of song Play again?
Zeynep Bastık - Ultrapop Tabs
NotesX
Harmony analysis
Zeynep Bastık – Ultrapop: key and chord analysis
The song opens on Fmaj7 and ends on Bbmaj7. Its chords belong to both F major and Dm, so every chord below is read both ways.
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 F major side because it opens on F, F is heard 13 times against 1 for Dm and the major V chord points straight at Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Fmaj7 | Tonic — home | F · A · C · E | 13× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 3× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 1× |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 13× |
| iv7 | Bbm7 | Minor iv — borrowed from the parallel minorborrowed chord | Bb · Db · F · Ab | 1× |
| V7 | C7 | Dominant — strongest pull home | C · E · G · Bb | 1× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 1× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 1× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| IIImaj7 | Fmaj7 | Relative major — the bright side | F · A · C · E | 13× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 3× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 1× |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 13× |
| vi7 | Bbm7 | Chromatic colour chordoutside the key | Bb · Db · F · Ab | 1× |
| VII7 | C7 | Subtonic — steps back to the tonic | C · E · G · Bb | 1× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 33 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. Bbm7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bbmaj7 Fmaj7 FIVmaj7 → Imaj7plagal cadence DmVImaj7 → IIImaj7 ×5
- C7 Fmaj7 FV7 → Imaj7authentic cadence DmVII7 → IIImaj7 ×1
- Bbmaj7 Dm FIVmaj7 → vi DmVImaj7 → iVI → i ×1
- Gm A7 Fii → V7/vi Dmiv → V7iv → V ×1
The move to watch is Bbmaj7 → Fmaj7, heard 5 times. From the F side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Dm side it is VImaj7 → IIImaj7. 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 Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — 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.
- On Bbm7, follow the chord's notes (Bb · Db · F · Ab) rather than the key's scale — it's a borrowed colour.
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
- 2 semitones up
The song's harmonic story
Starting on Fmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Fmaj7, Bbmaj7, Gm, Bbm7; read them as Imaj7–IVmaj7–ii–iv7 in F or IIImaj7–VImaj7–iv–vi7 in 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 Bbmaj7 → Fmaj7 (IVmaj7 → Imaj7 in F, VImaj7 → IIImaj7 in Dm): plagal cadence — the soft 'amen' ending. The final chord is Bbmaj7; the ear comes to rest in F.
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 - Ultrapop 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: Jan SoykökMusic: Jan Soykök
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