Buray - İnci - Chord

Key Bb major – G minor Chords Dm, Cm, F, Gm, Eb, Bb, Am7b5, G7 Easy key C

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Capo 0

Dm  Eb  F  Gm  Cm  Dm

Dm         Cm         Dm
Tek başıma içtim kahvemi
            Cm       Dm
Yudum yudum aktı özlemin
Bb        Cm         F          Gm
Akasyalar da ardından derin uykuya
Cm                     Dm
Daldı, güz oldu hayallerim

Dm         Cm       Dm
Her fotoğrafın kasırga
           Cm         Dm
Bakışların yel değirmeni
Bb           Cm         F          Gm
Döner durur, sarar yine taa en başına
Cm                 Dm
Sanki bir kaç asır öncesi

Bb          Cm          F       Gm
Saçak saçak buz dökülür hatıralara
Cm           Am7b5    Dm
Deler geçer, gecem zemheri

Bb    Cm     Dm
Ah akıyor akıyor
  Eb          G7        Cm
Hayat yine böyle aldırmadan
Eb      Dm      Eb
Gün sayıyor sayıyor dualarım
Cm                   Dm  Cm
Usanmadan hiç yorulmadaaaan

F         Gm         Dm  Eb
Sen benim olmazımsın ah
F       Gm          Dm  Eb
Elimden gelmezimsin ah (Yerine konmazımsın ah)

Bb          Cm      F         Gm
Tünel tünel açsam yine kapı duvar
Cm                    Dm
Her sokak çıkmazımsın ah

F           Gm         Dm  Eb
Sedef sedef sıcak kumlara
F           Gm        Dm  Eb
Dalıp dalıp karanlıklara

Bb        Cm        F        Gm
İnci olup en zifiri okyanuslara
Cm                     Dm
Kabuğundan çıkmazımsın ah

End of song Play again?

Buray - İnci Tabs

NotesX

Harmony analysis

Buray – İnci: key and chord analysis

The song opens on Dm and ends on Dm. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because Gm is heard 10 times against 6 for Bb. 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	6×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	19×
iii	Dm	Mediant — a tonic-family shade	D · F · A	20×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	8×
V	F	Dominant — strongest pull home	F · A · C	10×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	10×
V7/ii	G7	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D · F	1×
viiø7	Am7b5	Leading-tone chord — tension	A · C · Eb · G	1×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	10×
V7/iv	G7	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D · F	1×
iiø7	Am7b5	Supertonic — prepares the dominant	A · C · Eb · G	1×
III	Bb	Relative major — the bright side	Bb · D · F	6×
iv	Cm	Subdominant — moves away from home	C · Eb · G	19×
v	Dm	Minor dominant — soft pull	D · F · A	20×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	8×
VII	F	Subtonic — steps back to the tonic	F · A · C	10×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 75 times in total; 7 of them sit naturally inside the shared scale. G7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×10
Cm F Bbii → Vii → V Gmiv → VII ×6
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×3
Eb Bb BbIV → Iplagal cadence GmVI → III ×2
G7 Cm BbV7/ii → iisecondary resolution GmV7/iv → iv ×1

The move to watch is F → Gm, heard 10 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over F, 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 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

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

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, Cm, F, Gm — iii–ii–V–vi from the Bb side, v–iv–VII–i from the Gm side. G7 adds a moment of surprise: secondary dominant V/ii — leads to Cm. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. The final chord is Dm; 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.