Buray - Su Olsam - Chord

Key F major – D minor Chords Dm, A, Gm, F, E, Am, Bb, D7 Easy key C (capo 5)

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Capo 0

Dm  A  Dm

Dm
Sandığım kadar değil
            Am
Sandığından fazla
Gm       F
Aldığı kadar da değil
E       A      Dm
Aldığın çok fazla

Dm
Bildiğin kadar değil
            Am
Bildiğinden fazla aşk
Gm         F
Yandığın kadar da değil
E        A      Dm
Yandığım çok fazla

Dm         A
Kendi halimde değilim
         Dm
Halime bırakmıyorlar
Gm          F
Kendi kendimle bile
E         A    Dm
Kalamaz olduuuum

Dm             A
Bir hayal peşinde değilim
         Dm
Nedense inanmıyorlar
Gm         F
Seni gerçekten özledim
E         A
Göremez oldum

Gm
Su olsam, hayat olmam
Dm
İçmez kimseler beni
A
Sen beni içer misin
Bb        A       D7
Diker misin kafanaaa

Gm
Kış günü çiçek açsam
Dm
Görmez kimseler beni
A
Sen beni görür müsün
Bb        A      D7
Sular mısın acabaaa

End of song Play again?

Buray - Su Olsam Tabs

NotesX

Harmony analysis

Buray – Su Olsam: key and chord analysis

The song opens on Dm and ends on D7. 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 13 times against 4 for F 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	4×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	6×
iii	Am	Mediant — a tonic-family shade	A · C · E	2×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	11×
IV	Bb	Subdominant — moves away from home	Bb · D · F	2×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	13×
V7/ii	D7	Secondary dominant V/ii — leads to Gmsecondary dominant	D · F# · A · C	2×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
V/iii	E	Secondary dominant V/iii — leads to Amsecondary dominant	E · G# · B	4×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	13×
V7/iv	D7	Secondary dominant V/iv — leads to Gmsecondary dominant	D · F# · A · C	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
V/v	E	Secondary dominant V/v — leads to Amsecondary dominant	E · G# · B	4×
III	F	Relative major — the bright side	F · A · C	4×
iv	Gm	Subdominant — moves away from home	G · Bb · D	6×
v	Am	Minor dominant — soft pull	A · C · E	2×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	11×
VI	Bb	Submediant — warm colour	Bb · D · F	2×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 8 different chords appear 44 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 A is V/vi, a secondary dominant heading for Dm. E, D7 act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

A Dm FV/vi → vi DmV → iharmonic-minor cadence ×6
Gm Dm Fii → vi Dmiv → iminor plagal ×2
D7 Gm FV7/ii → iisecondary resolution DmV7/iv → iv ×1

The move to watch is A → Dm, heard 6 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → 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 Dm, land on D, F, A — 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
When A 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

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, A, Gm, F — vi–V/vi–ii–I from the F side, i–V–iv–III from the Dm side. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. It closes on D7, 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.