Bilal Sonses - Bu Aşk - Chord

Key F major – D minor Chords Am, Bbmaj7 Easy key C (capo 5)

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Capo 0

Am  Bbmaj7  Am  Bbmaj7

      Am           Bbmaj7
Başım aklıma gelir hep sonradan
       Am         Bbmaj7
Üzerim seni de kırarım sormadan
        Am           Bbmaj7
Duyarım kalbini, duyarım bir ton laf
        Am              Bbmaj7
Benimle kal sen hiç, yarın da zorlama

         Am           Bbmaj7
Varlığı dert, yokluğu bela
          Am               Bbmaj7
Daralıyor vakit, daralıyor zaman
           Am                Bbmaj7
O gün sana dedim, gülümsedin bana
        Am                 Bbmaj7
Anıları hep başa sar doyamadan

Am         Bbmaj7
 Bana bunu yapma dedim
Am              Bbmaj7
 Bu kez elimi bırakma benim
Am               Bbmaj7
 Yakınlaşır hep uzaklar gelir
Am             Bbmaj7
 Sen hadi bi' uzatma dedim

Am            Bbmaj7
 Rastladım o uzaktan geliş
Am               Bbmaj7
 Tanıdık bir hal aldı beni
Am            Bbmaj7             Am
 Her yolu denedin de mi yok dedi kalbin?
           Bbmaj7
  Bi' bizi mi göremedi

   Am  Bbmaj7
Bu aşk
   Am  Bbmaj7
Bu aşk
   Am  Bbmaj7
Bu aşk
   Am  Bbmaj7
Bu aşk

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Bilal Sonses - Bu Aşk Tabs

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Harmony analysis

Bilal Sonses – Bu Aşk: key and chord analysis

The song opens on Am 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)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between F major and D minor. 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 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
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	22×
III	A	Chromatic colour chordoutside the key	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	22×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	—
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	—
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	—
v	Am	Minor dominant — soft pull	A · C · E	22×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	22×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 2 different chords appear 44 times in total; 2 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Bbmaj7, land on Bb, D, F — 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 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 Am, the song gives away its key from the very first bar. The chords that keep coming back are Am, Bbmaj7; read them as iii–IVmaj7 in F or v–VImaj7 in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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.