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 - 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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Key: F | Dm
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
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Zeynep Bastık - Me Voy (Yasmin Levy) Tabs
NotesX
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.
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.
| 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× |
| 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.
Zeynep Bastık - Me Voy (Yasmin Levy) 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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