Bilal Sonses - Bir Gece Vardın Shawty - Chord

Key F major – D minor Chords Bbmaj7, Am7, Gm7, Dm7, Fmaj7 Easy key C (capo 5)

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Capo 0

Bbmaj7  Bbmaj7  Am7  Am7

Dm7
 Bir gece vardın
               Am7
Bir gece yok ahhhh

Söyle kim tutacak yerimi dolduracak
                             Bbmaj7
Bu kadar mahvolacak benim gibii
            Gm7
Bir gece vardın, bir gece yok
Am7                                 
Söyle kim tutacak yerimi dolduracak
                              Bbmaj7
Bu kadar mahvolacak benim gibiii

Bbmaj7                                           Am7
Adına yazdığım şarkıları, yüzüne baktığımda okuyorum
                                                   Bbmaj7
Seni görünce bir kez daha ya kendimi daha mahvediyorum
                      Gm7                             Am7
Alnıma yazılanın adı aşk, hiç bilmiyorum nereye kaçacağım

Kalbime söylüyorum biraz yavaş
                       Bbmaj7
Zamanla alışır yavaş yavaş

Bbmaj7
Bedenimde hiç bitmeyen ağrılarım
                                          Am7
Nasıl saracağımı bile bilmiyorum yaraları yardım et
        Fmaj7
Ya da tedavi et

Dm7
 Bir gece vardın
               Am7
Bir gece yok ahhhh

Söyle kim tutacak yerimi dolduracak
                             Bbmaj7
Bu kadar mahvolacak benim gibii
            Gm7
Bir gece vardın, bir gece yok
Am7                                 
Söyle kim tutacak yerimi dolduracak
                              Bbmaj7
Bu kadar mahvolacak benim gibiii

                    Am7
Benim gibi, benim gibi

End of song Play again?

Bilal Sonses - Bir Gece Vardın Shawty Tabs

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Harmony analysis

Bilal Sonses – Bir Gece Vardın Shawty: key and chord analysis

The song opens on Bbmaj7 and ends on Am7. 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: to us the song feels closer to the D minor side because Dm is heard 2 times against 1 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 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
Imaj7	Fmaj7	Tonic — home	F · A · C · E	1×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	3×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	10×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	10×
V	C	Dominant — strongest pull home	C · E · G	—
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	2×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
IIImaj7	Fmaj7	Relative major — the bright side	F · A · C · E	1×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	3×
v7	Am7	Minor dominant — soft pull	A · C · E · G	10×
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	10×
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). 5 different chords appear 26 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

Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×1

The move to watch is Am7 → Dm7, heard once. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → vi7. 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 Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Gm7, land on G, Bb, D — 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

The first chord is Bbmaj7; the ear learns where home is within a second. The chords that keep coming back are Bbmaj7, Am7, Gm7, Dm7; read them as IVmaj7–iii7–ii7–vi7 in F or VImaj7–v7–iv7–i7 in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. Ending on Am7, 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.