Buray - Ben Akıllanmam - Chord

Key Bb major – G minor Chords D7, Eb, Gm, Cm, Adim Easy key G (capo 3)

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Capo 0

D7               Gm     Eb
Sitemim kednime, üstüne alınma
D7              Gm
Pişmanları oyanarım
D7            Gm       Eb
Emsali olmadı çektiğim acının
D7               Gm
Çektikçe seni anarım

D7                 Gm      Eb
Güç sandım arkamda bırakıp gitmeyi
D7               Gm
Şimdi yalnız kalanım
D7               Gm          Eb
Suç sandım belki de öyle çok sevmeyi
D7             Gm
Nasıl başa sararım

D7     Eb   D7     Eb
Çarelermiş, umutlarmış
Cm              D7   Cm
Hep yol varmış, yalaaan
D7    Eb   D7     Eb
Dualarmış, adaklarmış
        D7       Adim     D7  Gm
Hiçbiri tutmadı, gelmedin amaaan

Gm                   Eb
Küstüm ben kendimle, affedemem asla
Gm                  Eb
Gençliğimde yaptığım hataları
Cm                Eb
Bir anlık öfkeyle nasıl bırakırım seni
Cm                  Adim      D7
Pişmanlık bu kadar acı olmamalı

Gm                   Eb
Küstüm ben kendimle, affedemem asla
Gm                   Eb
Haram, zehir oldu hep yıllarım
Cm                  Eb
Bir şansın daha var, sil baştan deseler
Cm                     Adim       D7
Ben akıllanmam, yine aynısını yaparım

D7               Gm     Eb
Sitemim kendime, üstüne alınma
D7              Gm
Pişmanları oynarım
D7             Gm      Eb
Faydası olmadı içtiğim şarabın
D7               Gm
İçtikçe daha yanarım

D7     Eb      D7      Eb
Dostluklarmış, vefa varmış
Cm             D7   Cm
Sorarım yok ki yalaaan
D7      Eb  D7      Eb
Ölüp kalsam duyan olmaz
        D7          Adim    D7  Gm
İyice bitap düştüm, vurdu zamaaaan

Gm                   Eb
Küstüm ben kendimle, affedemem asla
Gm                   Eb
Haram, zehir oldu hep yıllarım
Cm                  Eb
Bir şansın daha var, sil baştan deseler
Cm                     Adim       D7
Ben akıllanmam, yine aynısını yaparım

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Buray - Ben Akıllanmam Tabs

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Harmony analysis

Buray – Ben Akıllanmam: key and chord analysis

The song opens on D7 and ends on D7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because Gm is heard 20 times while Bb never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	10×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	29×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	23×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	20×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	5×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	20×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	5×
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	10×
v	Dm	Minor dominant — soft pull	D · F · A	—
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	29×
VI	Eb	Submediant — warm colour	Eb · G · Bb	23×
VII	F	Subtonic — steps back to the tonic	F · A · C	—

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 87 times in total; 4 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm.

Chord movement

D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×15
Adim D7 Bbvii° → V7/vi Gmii° → V7ii° → V ×5
Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×4
Eb Gm BbIV → vi GmVI → iVI → i ×3

The move to watch is D7 → Gm, heard 15 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to Gm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — 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.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.

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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The opening D7 lays a solid floor for everything that follows. D7, Eb, Gm, Cm carry the song: V7/vi–IV–vi–ii relative to Bb, V7–VI–i–iv relative to Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. The final chord is D7; the ear comes to rest in Bb.

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.