Buray - Sana Değmez - Chord

Key D major – B minor Chords Em, A, F#m, G, Bm, Em7 Easy key C (capo 2)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

F#m      G                   Em
Dün seni görmeyince yine ağladım
   A                   F#m
Sormadım kimseye neredesin
           G                  Em
Bir an seni bulduğum günü anımsadım
 A                    F#m
Kalbimin durduğu yerdesin

   Em       A     Em   A
Alırım başımı giderim buradan
            Em      A          F#m
Kaçsam bile yok boşuna sana değmez
    Em       A    Em   A
Yakarım canımı acılar sıradan
          Em  A               F#m
Ölsem yoluna bu hayat geri gelmez

F#m              G
Olmasan olmuyor içimde güneşim tutuldu
F#m               G
Gözyaşım pes etti ağlayamadıkça yutkundum
Bm           Em   A
Akmıyor nehirler simsiyah şehirler
G                  Em                       F#m
Hep senin yüzünden hep senin izinden geceler

F#m              G
Olmasan olmuyor içimde güneşim tutuldu
F#m               G
Gözyaşım pes etti ağlayamadıkça yutkundum
Bm           Em   A
Akmıyor nehirler simsiyah şehirler
G                  Em
Hep senin yüzünden hep senin izinden

   Em       A     Em   A
Alırım başımı giderim buradan
            Em      A          F#m
Kaçsam bile yok boşuna sana değmez
    Em       A    Em   A
Yakarım canımı acılar sıradan
          Em  A               F#m
Ölsem yoluna bu hayat geri gelmez

F#m              G
Olmasan olmuyor içimde güneşim tutuldu
F#m               G
Gözyaşım pes etti ağlayamadıkça yutkundum
Bm           Em7  A
Akmıyor nehirler simsiyah şehirler
G                  Em                       F#m
Hep senin yüzünden hep senin izinden geceler

F#m              G
Olmasan olmuyor içimde güneşim tutuldu
F#m               G
Gözyaşım pes etti ağlayamadıkça yutkundum
Bm           Em7  A
Akmıyor nehirler simsiyah şehirler
G                  Em
Hep senin yüzünden hep senin izinden

End of song Play again?

Buray - Sana Değmez Tabs

NotesX

Harmony analysis

Buray – Sana Değmez: key and chord analysis

The song opens on F#m and ends on Em. 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: to us the song feels closer to the B minor side because Bm is heard 4 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 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	—
ii	Em	Supertonic — prepares the dominant	E · G · B	20×
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	2×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	17×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	14×
V	A	Dominant — strongest pull home	A · C# · E	18×
vi	Bm	Relative minor — the melancholy side	B · D · F#	4×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	4×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	—
iv	Em	Subdominant — moves away from home	E · G · B	20×
iv7	Em7	Subdominant — moves away from home	E · G · B · D	2×
v	F#m	Minor dominant — soft pull	F# · A · C#	17×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	14×
VII	A	Subtonic — steps back to the tonic	A · C# · E	18×

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 75 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

Em A Dii → Vii → V Bmiv → VII ×16
G Bm DIV → vi BmVI → iVI → i ×4
Em7 A Dii7 → Vii → V Bmiv7 → VII ×2

The move to watch is Em → A, heard 16 times. From the Bm side it is iv → VII; from the D side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Em, land on E, G, B — 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.
Over F#m, 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 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

Starting on F#m, the song gives away its key from the very first bar. The backbone is Em, A, F#m, G — ii–V–iii–IV from the D side, iv–VII–v–VI from the Bm side. 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. It closes on Em, letting the D 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.