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 - Darmadağın - Chord
Key C major – A minor Chords Em7, Dm7, Fmaj7, Cmaj7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em7
Üzüldün mü son defa
Dm7
Tenimi yakarken
Kabuk bağladı eskisi gibi
Fmaj7 Em7
Saramam artık
Em7 Dm7
Uzandın mı tan yerinden dökülen yıldızlara
Fmaj7 Em7
Şafak söktü bir daha sönemem artık
Cmaj7 Dm7 Em7 Fmaj7
Bırakın düşsün geceme gözleri
Cmaj7 Dm7 Em7 Dm7 Fmaj7
Dönsün bana öderim neyse bedeli
Em7
Aç hadi yaralarımı
Al bütün umutlarımı
Dm7 Fmaj7
Gel dağıt yataklarımı dağıt
Olsun darmadağın
Em7
Yırt at anılarımı
Dm7
Yine gönder selamını
Hatırlat bana adını
Fmaj7 Em7
Olayım ben de darmadağın
End of song Play again?
Buray - Darmadağın Tabs
NotesX
Harmony analysis
Buray – Darmadağın: key and chord analysis
The song opens on Em7 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: to us the song feels closer to the C major side because C is heard 2 times while Am never appears. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Cmaj7 | Tonic — home | C · E · G · B | 2× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 7× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 9× |
| III | E | Chromatic colour chordoutside the key | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 6× |
| 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 | — |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 2× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 7× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 9× |
| 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 | 6× |
| 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). 4 different chords appear 24 times in total; 4 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
- Fmaj7 Cmaj7 CIVmaj7 → Imaj7plagal cadence AmVImaj7 → IIImaj7 ×1
The move to watch is Fmaj7 → Cmaj7, heard once. From the C side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Am side it is VImaj7 → IIImaj7. 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 Em7, land on E, G, B — 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.
- Over Fmaj7, land on F, A, C — 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 opening Em7 lays a solid floor for everything that follows. Em7, Dm7, Fmaj7, Cmaj7 carry the song: iii7–ii7–IVmaj7–Imaj7 relative to C, v7–iv7–VImaj7–IIImaj7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fmaj7 → Cmaj7 (IVmaj7 → Imaj7 in C, VImaj7 → IIImaj7 in Am): plagal cadence — the soft 'amen' ending. The final chord is Em7; the ear comes to rest in C.
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 - Darmadağın 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: Gözde Ançel & Aras (Halil) Gündüz
Music: Gözde Ançel & BurayArrangement: Buray
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