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 - Kendi Yolumuzda - Chord
Key F major – D minor Chords Am, Dm, Gm, Bbmaj7, A, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm
Birimiz çalışıyor masa başında
Birimiz güneşi izler doğuşunda
Elinde fırça aynanın karşısında
Şarkıyı söylüyor fondaysa Madonna
Bbmaj7 C
Yıkılmadan korkmadan ol kendine kahraman
Bbmaj7
Sen dik durdukça, kendin oldukça
A
Yakışır sana parlamak
Dm Am Gm Am
Ne sana ne bana konuşsunlar hiç aldırma
Dm Am Gm Am
Kim derse desin sen sınırlarını zorla
Dm Am Gm Am
Hem sana hem bana hayalimiz hep yan yana
Dm Am Gm Am
Kendi yolumuzda biz hazırız hiç unutma
Dm Am Gm Am
Dm
Birimiz çabalıyor iş kafasında
Birimiz kararlı çocuk konusunda
Elinde fırça tuvalin karşında
Ne istersek o oluruz bu hayatta
Bbmaj7 A
Yıkılmadan korkmadan ol kendine kahraman
Dm Am Gm Am
Ne sana ne bana konuşsunlar hiç aldırma
Dm Am Gm Am
Kim derse desin sen sınırlarını zorla
Dm Am Gm Am
Hem sana hem bana hayalimiz hep yan yana
Dm Am Gm Am
Kendi yolumuzda biz hazırız hiç unutma
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Zeynep Bastık - Kendi Yolumuzda Tabs
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Harmony analysis
Zeynep Bastık – Kendi Yolumuzda: key and chord analysis
The song opens on Dm and ends on Am. 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 D minor side because it opens on Dm, Dm is heard 11 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 9× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 18× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 2× |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 3× |
| V | C | Dominant — strongest pull home | C · E · G | 1× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 11× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 11× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 9× |
| v | Am | Minor dominant — soft pull | A · C · E | 18× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 2× |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 3× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 1× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 44 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 A is V/vi, a secondary dominant heading for Dm.
Chord movement
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×8
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×2
- Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×1
The move to watch is Am → Dm, heard 8 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. 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 Am, 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.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- When A 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
- 2 semitones up
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Am, Dm, Gm, Bbmaj7; read them as iii–vi–ii–IVmaj7 in F or v–i–iv–VImaj7 in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. It closes on Am, 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.
Zeynep Bastık - Kendi Yolumuzda 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: Zeynep Bastık
Serhat ŞensesliMusic: Zeynep Bastık
Serhat ŞensesliArrangement: Serhat Şensesli
Serhat ŞensesliMusic: Zeynep Bastık
Serhat ŞensesliArrangement: Serhat Şensesli
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