Buray - Ay Parçası - Chord

Key D major – B minor Chords F#m, G, A, Bm, Em, D, C#m7b5 Easy key C (capo 2)

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Capo 0

Bm  Bm  G  A  A  G  F#m

F#m        G           F#m        G
Gitmez canımın peşinde, bitmeyen acım
A         Bm     Em      A          G
Almadan rahat vermeyecek, artık anladım
F#m      G             F#m          G
Kaçar gündüzlerden sığınacak yer ararım
A         Bm     Em    A           Bm
Olmaz gecelerden de ben zaten korkarım

Bm      A  G        F#m
Tenhalarda boşluklarda yüreğim
Em                F#m    G
Gün mü desem gece mi yaşadığım
   Em         C#m7b5     F#m
Ne farkeder ki hepsi karanlık

Bm      A  G        F#m
Tenhalarda yokluklarda bedenim
Em                F#m    G
Gün mü desem gece mi yaşadığım
   Em         C#m7b5      F#m
Ne farkeder ki hepsi zindanlık

Bm                     A
Sevmeyi bilmeyen ay parçasını
G             F#m
Doldurdum her acı geceme
A
Nasıl da soğudu her yanı odamın
Em         F#m
Gecem karanlık kaldı

Bm                     A
Sevmeyi bilmeyen ay parçasını
G             F#m
Doldurdum her acı geceme
A
Nasıl da soğudu her yanı odamın
Em          F#m
Gecem buzlarla kaplı

F#m  G  F#m  G  F#m  G  F#m

Bm                Em
Her şey toz duman gittin ya hayatımdan
A                   D
Karanlık hatıramızla dertlere daldık
Bm             Em
Bir ay parçası söndürdün ışığımı
A                     D
Kasvetli duvarlarında nefessiz kaldım

Bm                Em
Her şey toz duman gittin ya hayatımdan
A                   D
Karanlık hatıramızla dertlere daldık
Bm             Em
Bir ay parçası söndürdün ışığımı
A                       D
Böyle bitmesine bir kez daha ağladım

End of song Play again?

Buray - Ay Parçası Tabs

NotesX

Harmony analysis

Buray – Ay Parçası: key and chord analysis

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

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C# (leading tone, pulls home)
4 = G (the note that leans on the 3rd)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (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 D major and B minor because it comes to rest on D, it opens on Bm and Bm is heard 13 times against 4 for D. 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 D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	4×
ii	Em	Supertonic — prepares the dominant	E · G · B	12×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	19×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	16×
V	A	Dominant — strongest pull home	A · C# · E	16×
vi	Bm	Relative minor — the melancholy side	B · D · F#	13×
viiø7	C#m7b5	Leading-tone chord — tension	C# · E · G · B	2×

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	13×
iiø7	C#m7b5	Supertonic — prepares the dominant	C# · E · G · B	2×
III	D	Relative major — the bright side	D · F# · A	4×
iv	Em	Subdominant — moves away from home	E · G · B	12×
v	F#m	Minor dominant — soft pull	F# · A · C#	19×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	16×
VII	A	Subtonic — steps back to the tonic	A · C# · E	16×

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 82 times in total; 7 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

Em A Dii → Vii → V Bmiv → VII ×6
A D DV → Iauthentic cadence BmVII → III ×4
F#m Bm Diii → vi Bmv → inatural-minor cadence ×4
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×3
G A DIV → VIV → V BmVI → VIIVI → VII ×3

The move to watch is Em → A, heard 6 times. From the D side it reads ii → V (ii → V: the classic preparation of the dominant); from the Bm side it is iv → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. F#m, G, A, Bm carry the song: iii–IV–V–vi relative to D, v–VI–VII–i relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → A (ii → V in D, iv → VII in Bm): ii → V — the classic preparation of the dominant. The final chord is D; the ear comes to rest in D.

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.