Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Buray - Haykırasım Var (Kezzo) - Chord
Key Bb major – G minor Chords Cm, Gm, Dm, Eb, F, D Easy key C
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Key: Bb | Gm
Capo: 0
Gm Cm
Bazen güneş, bazen soğuk, bazen sıcak
Gm
Bazen ılık, bazen taş gibiydi kalbin
Cm
Bazen bazen bazen kırık
Gm Cm
Bazen sıcak yaran anlamazsın taze taze acı
Gm Cm
Bazen haykırmak istersin olmaz çünkü sesin kısık
Gm Cm
Hep mi karabasan, rüyana kara saçanlar
Cm
Rüyana kara saçanlar
Gm Cm
Bekara boşanmak kolay, onlar hep boş yapanlar, tez kaçanlar
Gm Cm
Keşke silah değil, olsa tahtadan sapanlar
Cm
Olsa tahtadan sapanlar
Gm Cm
Belki martılardan, önce gelecek hep baharlar
Gm Cm
Her sabah aynaya söyle ben de nerdeyim
Gm Cm
Dedim ki sonra düşündüm bir yolcuyum, seferdeyim
Gm Cm
Her durakta bir bedende tanıştım, kederdeyim
Gm Cm
Trense kalktığında sen durakta, ben trendeyim
Gm Cm
Belki başka durakta, belki başka şehirde
Gm Cm
Belki başka yatakta, belki ölüm döşekte
Gm Cm
Bazen çözüm kötekteyken, bazen çözüm köçekte
Gm Cm
Bazen çözüm kaçmaktayken, bazen çözüm cürette
Gm Cm Gm
Denizimi bırakıp gitsin martılar
Cm Gm
Nasıl kızgın şarkılar
Cm Gm F Eb
Seviyor sevmiyor, yorgun yapraklar
Cm Dm Cm
Gülümse artık kurtuldun diyorlar
Dm Cm
Beni anlamıyorlar
Dm Eb Cm D
Haykırasım var ardından, bıraksınlaaar
Gm Cm Gm Cm
Gm Cm
Birine bakmak için geldiysen git olay başka
Gm Cm
Kimine sadık hayat, kimine mevzu durum başka
Gm Cm
Saygı varsa kal da, saygı yoksa çözüm kaçmak
Gm Cm
Sonuçta bardağın da hoşuna gitmiyor taşmak
Gm Cm
Bunları yazmak gerçekten zor sanki duvarları yıkmak
Gm Cm
Bazen geçmişe bakmak sanki bütün geleceği çöpe atmak
Gm Cm
Düşler hep tütün gibi bir çakmakta usulca yakmak
Gm Cm
Gitmek her şeyden bir boşluktan kendini yere atmak
Gm Cm Gm
Denizimi bırakıp gitsin martılar
Cm Gm
Nasıl kızgın şarkılar
Cm Gm F Eb
Seviyor sevmiyor, yorgun yapraklar
Cm Dm Cm
Gülümse artık kurtuldun diyorlar
Dm Cm
Beni anlamıyorlar
Dm Eb Cm D
Haykırasım var ardından, bıraksınlar
Gm Cm Gm
Yaralar benim gönlümde hırsızlar
Cm Gm
Çalıyor dünü yarınlar
Cm Gm
Yakamozlar ardından
Cm Gm
Yakıyorsun aaaa
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Buray - Haykırasım Var (Kezzo) Tabs
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Harmony analysis
Buray – Haykırasım Var (Kezzo): key and chord analysis
The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (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 G minor side because it both starts and finishes on Gm, Gm is heard 39 times while Bb never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 46× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 6× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 2× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 4× |
| V | F | Dominant — strongest pull home | F · A · C | 2× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 39× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 39× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 46× |
| v | Dm | Minor dominant — soft pull | D · F · A | 6× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 2× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 4× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 99 times in total; 5 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm.
Chord movement
- Cm Gm Bbii → vi Gmiv → iminor plagal ×36
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×2
- Cm D Bbii → V/vi Gmiv → Viv → V ×2
The move to watch is Cm → Gm, heard 36 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — 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.
- When D comes, swap the scale's F for F#: 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. Cm, Gm, Dm, Eb carry the song: ii–vi–iii–IV relative to Bb, iv–i–v–VI relative to Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. The final chord is Gm; the ear comes to rest in Gm.
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.
Buray - Haykırasım Var (Kezzo) 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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Lyrics: Gozde AncelMusic: Gozde AncelArrangement: Tolga Erzurumlu
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