Buray - Bu Böyle Kalmaz - Chord

Key F major – D minor Chords C, Am, Bb, Gm Easy key C (capo 5)

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Capo 0

Am               Gm
Doğrusu yanıldık biz,
               C
Böylesi inanmışken,
              Gm      
Nefes almadan sevmek neyse,
C     Bb      C     Am
Öyle derin yerin kalbimde

Am                Gm
Haklısın dağıldık biz
                 C
Sımsıkı sarılmışken
           Gm
Hayat senden ibaretti bende
C      Bb       C     Am
Şimdi derin yaran kalbimde

Am           Bb
Bu böyle kalmaz
Am
Yalan dolanla 
Gm                      
Kaçan kurtulmaz günahıyla

C        Bb     C          Am
Varsın yansın kar kalsın yanına
C       Bb     C        Am
Dönsün dursun dünya etrafında

Am           Bb
Bu böyle kalmaz
Am
Unuturum sanma
Gm
Yaram kapanmaz 
         Bb
Tuz basmakla

C        Bb     C        Am
Açsın içini aşk sansın onu da
C        Bb       C      Am
Sorulur hesabı sürsün zevk-i sefa

End of song Play again?

Buray - Bu Böyle Kalmaz Tabs

NotesX

Harmony analysis

Buray – Bu Böyle Kalmaz: key and chord analysis

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

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (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 F major and D 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	6×
iii	Am	Mediant — a tonic-family shade	A · C · E	12×
III	A	Chromatic colour chordoutside the key	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	9×
V	C	Dominant — strongest pull home	C · E · G	14×
vi	Dm	Relative minor — the melancholy side	D · F · A	—
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	—
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	6×
v	Am	Minor dominant — soft pull	A · C · E	12×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	9×
VII	C	Subtonic — steps back to the tonic	C · E · G	14×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 41 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

Bb C FIV → VIV → V DmVI → VIIVI → VII ×7
Gm C Fii → Vii → V Dmiv → VII ×5

The move to watch is Bb → C, heard 7 times. From the F side it reads IV → V (IV → V: the lift that builds tension before home); from the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. C, Am, Bb, Gm carry the song: V–iii–IV–ii relative to F, VII–v–VI–iv relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): IV → V — the lift that builds tension before home. The final chord is Am; the ear comes to rest in F.

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.