Bilal Sonses - Hasbelkader (Yıldız Tilbe) - Chord

Key F major – D minor Chords Bb, Gm, Am, C Easy key G

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Capo 0

Am
Her şeyi bana bırak, ya da oluruna su akar yolunu bulurmuş
Bb                 Gm            Bb
Yok senden gayrısı da, gel ara sıra
             Gm
Seven kalbim bak çoktan yorulmuş

Am
Kaşının karası ah

Bana sınav yolumuz elbet son bulurmuş
Bb             Gm             Bb
Koklasam doyasıya, bak sonrasına
             Gm
Tüm hayaller yar sana kurulmuş

Am
Yazmaz kalem elimde yazmaz kalem

Gönlüm yıkık ama yıkılmaz kalem
Bb                     Gm
Varsa bir şey bileyim, bırak beni gideyim
Bb                    C       Bb
Bir gün karşılaşırız, hasbelkader

Am  Am  Am  Am  Bb  Gm  Bb  C  Bb

Am
Bekledim gelmese de

Beni sevmese de acı çekermiş anladım her seven
Bb              Gm                Bb
Ellerim değmese de, adı her neyse ne
            Gm
İçim rahat, kapandı mesele

Am
Kaşının karası ah, bana sınav yolumuz elbet son bulurmuş
Bb             Gm             Bb
Koklasam doyasıya, bak sonrasına
             Gm
Tüm hayaller yar sana kurulmuş

Am
Yazmaz kalem elimde yazmaz kalem

Gönlüm yıkık ama yıkılmaz kalem
Bb                     Gm
Varsa bir şey bileyim, bırak beni gideyim
Bb                    C       Bb
Bir gün karşılaşırız, hasbelkader

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Bilal Sonses - Hasbelkader (Yıldız Tilbe) Tabs

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Harmony analysis

Bilal Sonses – Hasbelkader (Yıldız Tilbe): key and chord analysis

The song opens on Am and ends on Bb. 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	11×
iii	Am	Mediant — a tonic-family shade	A · C · E	10×
III	A	Chromatic colour chordoutside the key	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	17×
V	C	Dominant — strongest pull home	C · E · G	3×
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	11×
v	Am	Minor dominant — soft pull	A · C · E	10×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	17×
VII	C	Subtonic — steps back to the tonic	C · E · G	3×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 41 times in total; 4 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

Bb C FIV → VIV → V DmVI → VIIVI → VII ×3

The move to watch is Bb → C, heard 3 times. From the F side it reads IV → V (IV → V: the lift that builds tension before home); from the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Bb, 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.
Over Am, land on A, C, E — 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

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. Bb, Gm, Am, C carry the song: IV–ii–iii–V relative to F, VI–iv–v–VII relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): IV → V — the lift that builds tension before home. Ending on Bb, the song seals F as home.

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.