Buray - Buzlu Cam - Chord

Key Eb major – C minor Chords Cm7, Abmaj7, Fm7 Easy key G

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Capo 0

Cm7                                Abmaj7
Dün gece gömdüm bu aşktan ne varsa kalbime
Fm7
Sana çıksa da tüm yollar
Cm7                           Abmaj7
Anladım yüreğim razı bu derdi çekmeye
Fm7
Sonu olsa da hep hüsran

Cm7
Sen çile gibi bağrımda

Kim diyebilir "aldırma"
     Abmaj7
Yolu yok ki bu kader alnımda
Fm7
Neye yarar haykırışlar

Cm7
Sebebi şu hırçın rüzgar

Sebebi sensiz koltuklar
Abmaj7
İçime sel olup akan
Fm7
Yine taşan o yağmurlar

Cm7
Biz aşkı yazdık buzlu bi' cama

Silindi sonra kaldı yaralar
    Abmaj7
Gel hasretin eder aklımı ziyan
Fm7
Bak dura dura söndü sigara

Cm7
Biz aşkı yazdık buzlu bi' cama

Silindi sonra kaldı yaralar
Abmaj7
Hasretin eder aklımı ziyan
Fm7
Bak dura dura söndü sigara

Cm7
Ne yollara, ne yıllara
      Abmaj7         Fm7
Diz çöker bu gönül aslında
Cm7
Bi’ tek sana, bi’ tek sana
    Abmaj7            Fm7
Yenilir kül olur karşında

End of song Play again?

Buray - Buzlu Cam Tabs

NotesX

Harmony analysis

Buray – Buzlu Cam: key and chord analysis

The song opens on Cm7 and ends on Fm7. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 8 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	8×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	8×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	8×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i7	Cm7	Tonic — home	C · Eb · G · Bb	8×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	8×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VImaj7	Abmaj7	Submediant — warm colour	Ab · C · Eb · G	8×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 24 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

Fm7 Cm7 Ebii7 → vi7 Cmiv7 → i7minor plagal ×7

The move to watch is Fm7 → Cm7, heard 7 times. From the Cm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Eb side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Abmaj7, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Fm7, land on F, Ab, 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

The opening Cm7 lays a solid floor for everything that follows. The chords that keep coming back are Cm7, Abmaj7, Fm7; read them as vi7–IVmaj7–ii7 in Eb or i7–VImaj7–iv7 in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm7 → Cm7 (ii7 → vi7 in Eb, iv7 → i7 in Cm): minor plagal — deep and melancholic. Ending on Fm7, the song seals Eb 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.