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)
Anonim - Pınar Başı Burma Burma - Chord
Key C major – A minor Chords Am, F, G, C, A, Dm Easy key G (capo 5)
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Key: C | Am
Capo: 0
C Am A Am
Hey hey pınar başı burma burma yar yar yar yar yar yar aman
Dm F G Am
Yar gelince öter turna leylim leylim leylim aman
Am
Çayırda buldum seni ellere vermem seni
F G Am
Kendime aldım seni sineme sardım seni
C Am A Am
Hey hey çıktım pınarın başına yar yar yar yar yar yar aman
Dm F G Am
El ettim dudu kuşuna leylim leylim leylim aman
C Am A Am
Hey hey pınar başı ben olayım yar yar yar yar yar yar aman
Dm F G Am
Bulanırsam bulanayım leylim leylim leylim aman
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Anonim - Pınar Başı Burma Burma Tabs
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Harmony analysis
Anonim – Pınar Başı Burma Burma: key and chord analysis
The song opens on C and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.
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: to us the song feels closer to the A minor side because it comes to rest on Am, it opens on C and Am is heard 11 times against 3 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 3× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 3× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 4× |
| V | G | Dominant — strongest pull home | G · B · D | 4× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 11× |
| V/ii | A | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E | 3× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 11× |
| V/iv | A | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E | 3× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 3× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 3× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 4× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 28 times in total; 5 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
- F G CIV → VIV → V AmVI → VIIVI → VII ×4
The move to watch is G → Am, heard 4 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 Am, land on A, C, E — 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.
- Over G, land on G, B, D — 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is C; the ear learns where home is within a second. Am, F, G, C carry the song: vi–IV–V–I relative to C, i–VI–VII–III relative to Am. A adds a moment of surprise: secondary dominant V/ii — leads to Dm. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. Ending on Am, the song seals Am as home.
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.
Anonim - Pınar Başı Burma Burma 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.
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