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)
Buray - Beni Affet - Chord
Key C major – A minor Chords Em7, Fmaj7, Dm7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Fmaj7 Em7 Dm7 Em7 Fmaj7 Beni affet, affet beni Em7 Saramadım seni hakettiğin gibi Dm7 Kafamda bin düşüncenin ayak sesi Em7 Göremedim görmem gerekeni Fmaj7 Kuşlar beni sana hatırlatırsa Em7 Nolur ihmal etme dinlemeyi Dm7 Yollar seni bana çıkarıyosa Em7 Koş git en uzağa, yok sevme beni Fmaj7 Beni affet, affet beni Em7 Gururumu ve bitmeyen endişemi Dm7 Tanımamıştım hiç senin gibisini Em7 Aşkın kör etti şu gözlerimi Fmaj7 Kuşlar beni sana hatırlatırsa Em7 Nolur ihmal etme dinlemeyi Dm7 Yollar seni bana çıkarıyosa Em7 Koş git en uzağa, yok sevme beni
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Buray - Beni Affet Tabs
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Harmony analysis
Buray – Beni Affet: key and chord analysis
The song opens on Fmaj7 and ends on Em7. Its chords belong to both C major and Am, so every chord below is read both ways.
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: we can't honestly pick a side here — the song moves freely between C major and A 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 5× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 10× |
| III | E | Chromatic colour chordoutside the key | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 5× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | — |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | — |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 5× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 10× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 5× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 20 times in total; 3 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
- 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — 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
The first chord is Fmaj7; the ear learns where home is within a second. The chords that keep coming back are Em7, Fmaj7, Dm7; read them as iii7–IVmaj7–ii7 in C or v7–VImaj7–iv7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Em7, letting the C side have the last word.
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.
Buray - Beni Affet 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: Ceren GündoğduMusic: Ceren Gündoğdu
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