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)
Bilal Sonses - Bu Aşk - Chord
Key F major – D minor Chords Am, Bbmaj7 Easy key C (capo 5)
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Key: F | Dm
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.
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.
| 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 | — |
| 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.
Bilal Sonses - Bu Aşk 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: Enes YıldırımMusic: Enes YıldırımArrangement: Denizkan Boz
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