Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Emre Nalbantoğlu - Gece - Chord
Key D major – B minor Chords Bm7, Amaj7 Easy key F
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Key: D | Bm
Capo: 0
Bm7 Amaj7 Bm7 Amaj7 Bm7 Amaj7 Mutsuz musun bu akşam Bm7 Amaj7 Küskün müsün hayata Bm7 Amaj7 Üzgün yüzün yakışmaz Bm7 Amaj7 Geçer hüzün alışma Bm7 Amaj7 Gece biter yine olur sabah Bm7 Amaj7 Düştük ama kalkarız bi’ daha Bm7 Amaj7 Sarılalım yokmuş gibi zaman Bm7 Amaj7 Salınalım gece uzun daha Bm7 Amaj7 Huysuz musun bu akşam Bm7 Amaj7 Kızgın mısın hayata Bm7 Amaj7 Tatsız yüzün yakışmaz Bm7 Amaj7 Geçer hüzün alışma Bm7 Amaj7 Gece biter yine olur sabah Bm7 Amaj7 Düştük ama kalkarız bi’ daha Bm7 Amaj7 Sarılalım yokmuş gibi zaman Bm7 Amaj7 Salınalım gece uzun daha
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Emre Nalbantoğlu - Gece Tabs
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Harmony analysis
Emre Nalbantoğlu – Gece: key and chord analysis
The song opens on Bm7 and ends on Amaj7. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because it opens on Bm and Bm is heard 18 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| Vmaj7 | Amaj7 | Chromatic colour chordoutside the key | A · C# · E · G# | 18× |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 18× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 18× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | — |
| VIImaj7 | Amaj7 | Chromatic colour chordoutside the key | A · C# · E · G# | 18× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 2 different chords appear 36 times in total; 1 of them sit naturally inside the shared scale. Amaj7 step outside the scale as colour chords.
Chord movement
- Amaj7 Bm7 DVmaj7 → vi7 BmVIImaj7 → i7Aeolian arrival ×17
The move to watch is Amaj7 → Bm7, heard 17 times. From the Bm side it is VIImaj7 → i7 (Aeolian arrival: rises a whole tone into home); from the D side it reads Vmaj7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Amaj7, 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 3 semitones up
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Bm7 lays a solid floor for everything that follows. The backbone is Bm7, Amaj7 — vi7–Vmaj7 from the D side, i7–VIImaj7 from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Amaj7 → Bm7 (Vmaj7 → vi7 in D, VIImaj7 → i7 in Bm): Aeolian arrival — rises a whole tone into home. The final chord is Amaj7; the ear comes to rest in D.
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.
Emre Nalbantoğlu - 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: Emre NalbantoğluMusic: Emre Nalbantoğlu
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