Bilal Sonses - Ansızın - Chord

Key Db major – Bb minor Chords Fm, Gb, Ab, Bbm, Ebm Easy key C (capo 1)

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Capo 0

Fm       Gb            Fm
Hem kadersin, hem kedersin
Fm         Gb       Fm
Artık her şey değersiz
Bbm       Ab       Fm
Belki bir gün seversin
Gb        Ebm        Fm
Sen hayatımı mahfedensin

Bbm       Gb           Ab         Fm
Aldırma geçer be elbet, alışıksın kalbim sabret
Gb                      Fm
Çoktan unuttum ki ben seni
Ab          Fm           Ebm         Gb
Yangınlar söner be elbet, gülüşün küçük bir cennet
Ab         Gb        Fm
Çoktan unuttum ben seni

Bbm                       Ab
Bir gün gelirsen ansızın, geçer mi dersin kalp sızım
Gb                     Ab    Bbm     Fm
Başarmıştık imkansızı, ya da öyle sandım
Bbm                       Ab
Yanar mı kalbin ben gibi, bulunduğum yer en dibi
Gb                     Ab      Bbm   Fm
Kaybettim inan kendimi, seni eller aldı

Gb                     Ab      Gb    Fm
Kaybettim inan kendimi, seni eller aldı

End of song Play again?

Bilal Sonses - Ansızın Tabs

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Harmony analysis

Bilal Sonses – Ansızın: key and chord analysis

The song opens on Fm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 6 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	2×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	13×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	11×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	9×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	6×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	6×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	2×
v	Fm	Minor dominant — soft pull	F · Ab · C	13×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	11×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	9×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 41 times in total; 5 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

Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×5
Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×4
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2

The move to watch is Gb → Ab, heard 5 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

Starting on Fm, the song gives away its key from the very first bar. The backbone is Fm, Gb, Ab, Bbm — iii–IV–V–vi from the Db side, v–VI–VII–i from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Ab (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. It closes on Fm, letting the Db 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.