Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Buray - Düştüm Durdum - Chord
Key Gb major – Eb minor Chords Bm7, Em, Am7 Easy key B (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: Gb | D#m | Ebm
Capo: 0
Em Bm7 Am7 Bm7 Em Bm7 Düştüm durdum sonu yok bu aşkın Am7 Bm7 Sensizlik zor sanki dar ağacı Em Bm7 Nasıl unuttun söyle bileyim yalancı Am7 Bm7 Ben sussam yüreğim davacı Em Bm7 Aldırmadın hiç bebeğim ben ölüp sürünürken Am7 Bm7 Olmuş şu gönül yine parça parça Em Bm7 Vurdu bir ayaz üşürüm sensiz gecelerde Am7 Bm7 Aldın canımı yine fazla fazla Em Bm7 Bak dün gibi hala kaldın dudağımda Am7 Bm7 Ruhumda bir sancı, yaktım kafayı Em Bm7 Aşk her tarafımda, her gün bunalımlar Am7 Bm7 Sen gül tabi eğlen, ben kahrolayım Em Bm7 Düştüm durdum sonu yok bu aşkın Am7 Bm7 Sensizlik zor sanki dar ağacı Em Bm7 Nasıl unuttun söyle bileyim yalancı Am7 Bm7 Ben sussam yüreğim davacı
End of song Play again?
Buray - Düştüm Durdum Tabs
NotesX
Harmony analysis
Buray – Düştüm Durdum: key and chord analysis
The song opens on Em and ends on Bm7. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (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 Gb major and Eb 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 Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| biii7 | Am7 | Chromatic colour chordoutside the key | A · C · E · G | 9× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| III | Bb | Chromatic colour chordoutside the key | Bb · D · F | — |
| IV | Cb | Subdominant — moves away from home | Cb · Eb · Gb | — |
| iv7 | Bm7 | Minor iv — borrowed from the parallel minorborrowed chord | B · D · F# · A | 18× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | — |
| bvii | Em | Chromatic colour chordoutside the key | E · G · B | 9× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | — |
| bii | Em | Chromatic colour chordoutside the key | E · G · B | 9× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| #iv7 | Am7 | Chromatic colour chordoutside the key | A · C · E · G | 9× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | — |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | Cb | Submediant — warm colour | Cb · Eb · Gb | — |
| vi7 | Bm7 | Chromatic colour chordoutside the key | B · D · F# · A | 18× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 36 times in total; 0 of them sit naturally inside the shared scale. Bm7 is borrowed from the parallel minor, adding a darker shade to the major side.
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
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- On Bm7, follow the chord's notes (B · D · F# · A) rather than the key's scale — it's a borrowed colour.
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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. The backbone is Bm7, Em, Am7 — iv7–bvii–biii7 from the Gb side, vi7–bii–#iv7 from the Ebm side. Bm7 briefly darkens the picture: minor iv — borrowed from the parallel minor. It closes on Bm7, letting the Gb 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 - Düştüm Durdum 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Emrah KarakuyuMusic: Emrah KarakuyuArrangement: Nushadow
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.