Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Betül Demir - Bütün Gece - Chord
Key Gb major – Eb minor Chords Bbm, Ebm, Db, B, Abm, Gb Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Ebm Bbm Db B Abm Bbm
Ebm
Yüz yüze gelmedin mi hiç
B
Hatalarınla bir kere bile
Db
Aşka karşı koyamazsın
Bbm
Bunu deneme bile
B
Belki yine yanılıyorum
Abm
Dosta düşmana sarılıyorum
Gb Db
Doğruyu gel sen söyle
Abm Bbm
Yanlışı nerede yapıyorum
Ebm
Bütün gece, sabaha kadar
Bbm Db
Ya da bir ömür, ölene kadar
B Abm
Aşk kalbine dönene kadar
Bbm Gb
Beklerim (beklerim)
Ebm
Sen gerçeği görene kadar
Bbm Db
Kader ağları örene kadar
B Abm
Aşk kalbine girene kadar
Bbm
Beklerim
Ebm
Çıktım aşk duasına
Abm Db
Binbir masal dünyasına
Gb B
Bıkmadın mı yalanlardan
Bbm Gb
Gerçeklere uyansana
End of song Play again?
Betül Demir - Bütün Gece Tabs
NotesX
Harmony analysis
Betül Demir – Bütün Gece : key and chord analysis
The song opens on Ebm and ends on Gb. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Gb major and Eb minor because it comes to rest on Gb, it opens on Ebm and Ebm is heard 6 times against 4 for Gb. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | 4× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 6× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 9× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 6× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 6× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 6× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 6× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 4× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 6× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 9× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 6× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 6× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 37 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×3
- Db Gb GbV → Iauthentic cadence EbmVII → III ×1
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×1
- Abm Db Gbii → Vii → V Ebmiv → VII ×1
The move to watch is Bbm → Ebm, heard 3 times. From the Gb side it reads iii → vi; from the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
Starting on Ebm, the song gives away its key from the very first bar. The backbone is Bbm, Ebm, Db, B — iii–vi–V–IV from the Gb side, v–i–VII–VI from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. It closes on Gb, letting the Gb 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.
Betül Demir - Bütün Gece 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: Betül Demir
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