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)
Nahide Babaşlı - Ulduz - Chord
Key F major – D minor Chords Dm, A, F, Gm, C, Em, Bb Easy key C (capo 5)
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Key: F | Dm
Capo: 0
F A Dm A
Ulduz sayaraq gözlemişəm hər gecə yari
F A Dm A
Gec gəlmədədir yar yenə olmuş gecə yari
Gm F Em Dm
Yatmış hamı bir Allah oyaqdır, daha bir men
Gm F Em Dm
Məndən aşağı kimsə yox, ondan da yuxari
C Dm C Dm
Gəlməz tanıram bəxtimi birdən ağarar sübh
C Dm C Dm
Qaşlar da ağardıqca daha baş da ağarır
A Bb A
Qorxum budur yar gəlməyə birdən ağarar sübh
Bb Gm A
Bağrım yarılar sübhüm açılmaz sen ey tanri
Gm F A Dm
Oldum qara gün ayrılalı o sarı teldən
Gm F A Dm
Bunca qara günlərdir edən rəngimi sari
Gm F A Dm
Eşqin ki qərarında vəfa olmayacaqmış
Gm F A Dm
Bilməm ki təbiət niyə qoymuş bu qərarı
End of song Play again?
Nahide Babaşlı - Ulduz Tabs
NotesX
Harmony analysis
Nahide Babaşlı – Ulduz: key and chord analysis
The song opens on F and ends on Dm. 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 comes to rest on Dm, it opens on F, Dm is heard 12 times against 8 for F 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 | 8× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 7× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 11× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 2× |
| V | C | Dominant — strongest pull home | C · E · G | 4× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 12× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 12× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
| III | F | Relative major — the bright side | F · A · C | 8× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 7× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 11× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 2× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 4× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 46 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. Em step outside the scale as colour chords.
Chord movement
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×6
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×4
- Gm A Fii → V/vi Dmiv → Viv → V ×1
The move to watch is A → Dm, heard 6 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — 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.
- 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 F; the ear learns where home is within a second. Dm, A, F, Gm carry the song: vi–V/vi–I–ii relative to F, i–V–III–iv relative to 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 A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. It closes on Dm, letting the Dm 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.
Nahide Babaşlı - Ulduz 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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