Buray - Deli Kiz - Chord

Key C major – A minor Chords Dm7, G, Em, Am, C, Em7 Difficulty already in its easiest key

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Capo 0

             Em  Dm7      G
Bu nasıl bir naz, vurdumduymaz
         Dm7
Ben ardında yaşlı keman
         G
Sen deli saz

             Em  Dm7          G
Hangi telden bu,  ne hicaz ne de caz
          Dm7
Sen çaldıkça ruhumda
            G
Başlar bir ayaz

C           Dm7      Em
Kuytu bahçemde baharsın
C           Dm7        Em
Sen gül de güller utansın
C           Dm7          Em7
Nasıl da toprak kokarsın of
       Dm7        Em
İçim yanar olmaz olmaz

Em           Dm7      G       Am
Ahh sen deli kız ne güzel bakıyorsun
Em           Dm7      G      Am
Kaç gel deli kız kimleri yakıyorsun
G          Am        Dm7          G
Takmış koluna sevdiğini acıyor kalbim
       Em
Olmaz olmaz

Em           Dm7      G       Am
Ahh sen deli kız ne güzel bakıyorsun
Em           Dm7      G      Am
Kaç gel deli kız kimleri yakıyorsun
G         Am       Dm7            G
Güm güm kalbim çıkacak yerinden eyvah
       Em
Olmaz olmaz

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Buray - Deli Kiz Tabs

NotesX

Harmony analysis

Buray – Deli Kiz: key and chord analysis

The song opens on Em and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because Am is heard 6 times against 3 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	3×
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	14×
iii	Em	Mediant — a tonic-family shade	E · G · B	11×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	1×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	—
V	G	Dominant — strongest pull home	G · B · D	12×
vi	Am	Relative minor — the melancholy side	A · C · E	6×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	3×
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	14×
v	Em	Minor dominant — soft pull	E · G · B	11×
v7	Em7	Minor dominant — soft pull	E · G · B · D	1×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	—
VII	G	Subtonic — steps back to the tonic	G · B · D	12×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 47 times in total; 6 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

Dm7 G Cii7 → Vii → V Amiv7 → VII ×10
G Am CV → videceptive cadence AmVII → iAeolian arrival ×6
G C CV → Iauthentic cadence AmVII → III ×1

The move to watch is Dm7 → G, heard 10 times. From the Am side it is iv7 → VII; from the C side it reads ii7 → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. Dm7, G, Em, Am carry the song: ii7–V–iii–vi relative to C, iv7–VII–v–i relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → G (ii7 → V in C, iv7 → VII in Am): ii → V — the classic preparation of the dominant. Ending on Em, the song seals C 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.