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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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.

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)

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.

Seen from F major
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	—

Seen from D minor
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.