Buray - Kaçsana Bana - Chord

Key C major – A minor Chords Em7, Dm7, F, G, C, Am7 Difficulty already in its easiest key

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Capo 0

Em7  F  Em7  F  Em7  F

Em7     Dm7       G         Dm7
Kızıl rüya saçlarında, gerdanında
G     Dm7     Em7  F
Koynunda uyumadım 

Em7      Dm7       G       Dm7
Bu aşk gazel gibi oldu, sayfa sayfa
G     Dm7       Em7  F
Bir divan bulamadı

C
Menzillerin kaçak

Ah ne zor kavuşmak
Dm7     F          Em7
Düşsüzlüğün düşündeyim

C
Uslanmasın yasak

Kaç gel sokak sokak
Dm7      F        Em7
Sal kendini izbedeyim

Em7         F  Em7       Dm7
Kaçsana bana,  kaçsana deli
G         Am7  Dm7    G
Gecenin karasında kaç gel, gel bul beni

Em7         F  Em7       Dm7
Sarsana bana,  sarsana deli
G         Am7  Dm7     G
Canımın darasında, kaç yer delik deşik
x2

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Buray - Kaçsana Bana Tabs

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Harmony analysis

Buray – Kaçsana Bana: key and chord analysis

The song opens on Em7 and ends on G. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	2×
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	12×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	13×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	9×
V	G	Dominant — strongest pull home	G · B · D	8×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	2×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i7	Am7	Tonic — home	A · C · E · G	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	2×
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	12×
v7	Em7	Minor dominant — soft pull	E · G · B · D	13×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	9×
VII	G	Subtonic — steps back to the tonic	G · B · D	8×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 46 times in total; 6 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

Dm7 G Cii7 → Vii → V Amiv7 → VII ×8
G Am7 CV → vi7deceptive cadence AmVII → i7Aeolian arrival ×2
F C CIV → Iplagal cadence AmVI → III ×1

The move to watch is Dm7 → G, heard 8 times. From the C side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the Am side it is iv7 → VII. 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 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 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 Em7; the ear learns where home is within a second. Em7, Dm7, F, G carry the song: iii7–ii7–IV–V relative to C, v7–iv7–VI–VII relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → G (ii7 → V in C, iv7 → VII in Am): ii → V — the classic preparation of the dominant. The final chord is G; 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.