Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Zeynep Bastık - Fırça - Chord
Key Bb major – G minor Chords Eb, F, Gm, Cm, Dm, D, Bb Easy key C
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Key: Bb | Gm
Capo: 0
Eb F
Eb F
Yanımda tedirgin eski bir fırça
Eb F
Boyanmaz yepyeni bir sayfa
Eb F
Resimden nasıl bir saf olduğumu anla
Eb F Cm Gm Eb
Na na na, nana, nanana, nan nanan nanananana
Eb F
Neyse sen deftere şimdilik eksi yazma
Eb F
Zamanla iyileşirim hayırlısıyla
Eb F Eb
Malum alışmak zor sürtük yaşanmışlıklarına
Gm F Bb
Pişmanlıklarına alışmak zor
Gm
Eski renklerin bir yudum hatrı hala
Dm
Hep vurur yüzüme dur dokunma
Cm D
Günahkar hayal çıkmaz sessiz kalbimden
Gm
Yani soluk, donuk, bu kez yaş bu tahta
Dm
Sarılacaksam sana yarın sabah
Cm D
O zaman bırak kurusun geceden
Gm Dm Cm D
Eb F Gm
End of song Play again?
Zeynep Bastık - Fırça Tabs
NotesX
Harmony analysis
Zeynep Bastık – Fırça: key and chord analysis
The song opens on Eb and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (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 G minor side because it comes to rest on Gm, Gm is heard 6 times against 1 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 1× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 4× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 3× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 3× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 11× |
| V | F | Dominant — strongest pull home | F · A · C | 10× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 6× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 6× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 1× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 4× |
| v | Dm | Minor dominant — soft pull | D · F · A | 3× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 3× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 11× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 10× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 38 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm.
Chord movement
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×9
- Cm D Bbii → V/vi Gmiv → Viv → V ×3
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×2
- F Bb BbV → Iauthentic cadence GmVII → III ×1
- Cm Gm Bbii → vi Gmiv → iminor plagal ×1
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1
The move to watch is Eb → F, heard 9 times. From the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Bb side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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 D comes, swap the scale's F for F#: 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Eb; the ear learns where home is within a second. The chords that keep coming back are Eb, F, Gm, Cm; read them as IV–V–vi–ii in Bb or VI–VII–i–iv in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Eb → F (IV → V in Bb, VI → VII in Gm): VI → VII — the rising step that heads for the tonic. The final chord is Gm; the ear comes to rest in Gm.
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 - Fırça 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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