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)
Selin - Şıp - Chord
Key F major – D minor Chords Bbmaj7, C, Am7, Gm7, Dm7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Bbmaj7 Gm7 C Am7
Bbmaj7 Gm7 C Am7
Bir olmaz olmaz derde boy verdim
Bbmaj7 Gm7 C Am7
Çok yanlış yaptım, sayende öğrendim
Bbmaj7 Gm7
Sana bir çarpı yazdım
C Am7
Ama sensiz olmaz
Bbmaj7 Gm7
Bu yürek neler aştı geldi
C Am7
Lütfen karşı koyma
Bbmaj7 Gm7
Görmezsen beni, duymazsan hani
C Am7
Vaadim benle kalır boşta
Bbmaj7 Gm7
Halim çok fena, durma bul
C Am7
Yerim: kalbin şıp dediği nokta!
Bbmaj7 Gm7 C Am7
Bbmaj7 C
Yeni baştan açsa çiçeğim
Am7 Dm7
Beni seri aşka bağlat
Bbmaj7 C
O serin sularından içeyim
Am7 Dm7
Peteğime balı damlat
Bbmaj7 Gm7
Sana bir çarpı yazdım
C Am7
Ama sensiz olmaz
Bbmaj7 Gm7
Bu yürek neler aştı geldi
C Am7
Lütfen karşı koyma
Bbmaj7 Gm7
Görmezsen beni, duymazsan hani
C Am7
Vaadim benle kalır boşta
Bbmaj7 Gm7
Halim çok fena, durma bul
C Am7
Yerim: kalbin şıp dediği nokta!
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Selin - Şıp Tabs
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Harmony analysis
Selin – Şıp: key and chord analysis
The song opens on Bbmaj7 and ends on Am7. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because Dm is heard 2 times while F never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 12× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 14× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 14× |
| V | C | Dominant — strongest pull home | C · E · G | 14× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 2× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 2× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 12× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 14× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 14× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 14× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 56 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
- Gm7 C Fii7 → Vii → V Dmiv7 → VII ×12
- Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×2
- Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×2
The move to watch is Gm7 → C, heard 12 times. From the Dm side it is iv7 → VII; from the F side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 C, land on C, E, G — 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.
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
The first chord is Bbmaj7; the ear learns where home is within a second. Bbmaj7, C, Am7, Gm7 carry the song: IVmaj7–V–iii7–ii7 relative to F, VImaj7–VII–v7–iv7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm7 → C (ii7 → V in F, iv7 → VII in Dm): ii → V — the classic preparation of the dominant. It closes on Am7, letting the F side have the last word.
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.
Selin - Şıp 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: Mabel MatizMusic: Mabel Matiz
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