Fettah Can - Buralardan Giderim - Chord

Key F major – D minor Chords A7, Dm, Am, Bb, Gm, C Easy key C (capo 5)

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Capo 0

Dm                    Am
Sayılı gün çabuk geçer geçerdi nasıl olsa
Dm                  Am
Çabuk dönerim demiştin üstüne basa basa
Bb                 C
Aylar geçti senden bir haber alamadım
Gm                Bb         A7
Unut dedin kalbime olmadı unutamadım
Gm                   Am
Tadı yok eskisi gibi huzur da vermiyor
Gm                A7       Bb   A7
Sevdiğim sokaklar tanıdık gelmiyor

Dm                      Am
Ben de buralardan giderim eğer sen yoksan
Dm                    A7   
Ne arar ne hatırlarım öyle olsun istiyorsan
Bb                     C
Buralardan çeker giderim eğer sen yoksan
Gm                    A7
Ne arar ne hatırlarım öyle olsun istiyorsan

End of song Play again?

Fettah Can - Buralardan Giderim Tabs

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Harmony analysis

Fettah Can – Buralardan Giderim: key and chord analysis

The song opens on Dm and ends on A7. 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)
#7 = C# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it opens on Dm, Dm is heard 4 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 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	4×
iii	Am	Mediant — a tonic-family shade	A · C · E	4×
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	5×
IV	Bb	Subdominant — moves away from home	Bb · D · F	4×
V	C	Dominant — strongest pull home	C · E · G	2×
vi	Dm	Relative minor — the melancholy side	D · F · A	4×
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	4×
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	4×
v	Am	Minor dominant — soft pull	A · C · E	4×
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	5×
VI	Bb	Submediant — warm colour	Bb · D · F	4×
VII	C	Subtonic — steps back to the tonic	C · E · G	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 23 times in total; 5 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm.

Chord movement

Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
Gm A7 Fii → V7/vi Dmiv → V7iv → V ×2
A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×1

The move to watch is Am → Dm, heard 2 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. 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 A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — 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.
When A7 comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.

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 Dm; the ear learns where home is within a second. The backbone is A7, Dm, Am, Bb — V7/vi–vi–iii–IV from the F side, V7–i–v–VI from the Dm side. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. It closes on A7, letting the F 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.