Buray - Sende Hatıralar Var - Chord

Key C major – A minor Chords Em, Am, G, Dm, F, C, Db, A Difficulty already in its easiest key

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Capo 0

Em  F  Am  G  F  Em  Em  F  Am  G  F  Em

Am  Am  Dm  Dm  F   Dm  Em
G   G   Am  Am  Em  Am  Dm
Em  Em  Am  Am  G   Dm  Em

Am        Em        G        F
İnan şiir gözlüm, inan gönül sözlüm
Am            F        Em      Dm        Em
Sensiz bir dünyayı yaşamam yaşamam yaşayamam
Am       Em     G        F
Elin ellerimde, gözün gözlerimde
Am         F         G       F       Em
Bil ki yüreğimde sıcacık sıcacık bir sevgin var

C     G         C
Sende hatıralar var
Am    Em          C   Db
Sende mutluluklar var
Dm            F
Sana sitem ettiysem
G     Dm       Em    G  Dm  Em
Sitem sevgiden doğar

Am            Dm              F         Dm    Em
Ben sende yaşadım, seninle tattım böyle bir aşkı
G            Am             Em       A     Dm
Al hatıram olsun, armağan olsun sana bu şarkı
Em             Am               G           Dm    Em
Çal, benim için çal, bu ask için çal, bizim bu şarkı

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Buray - Sende Hatıralar Var Tabs

NotesX

Harmony analysis

Buray – Sende Hatıralar Var: key and chord analysis

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

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)

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 Am is heard 17 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	3×
bII	Db	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Db · F · Ab	1×
ii	Dm	Supertonic — prepares the dominant	D · F · A	13×
iii	Em	Mediant — a tonic-family shade	E · G · B	21×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	12×
V	G	Dominant — strongest pull home	G · B · D	13×
vi	Am	Relative minor — the melancholy side	A · C · E	17×
V/ii	A	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	1×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	17×
V/iv	A	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	1×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	3×
#III	Db	Chromatic colour chordoutside the key	Db · F · Ab	1×
iv	Dm	Subdominant — moves away from home	D · F · A	13×
v	Em	Minor dominant — soft pull	E · G · B	21×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	12×
VII	G	Subtonic — steps back to the tonic	G · B · D	13×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 81 times in total; 6 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key. Db is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Em Am Ciii → vi Amv → inatural-minor cadence ×7
F Am CIV → vi AmVI → iVI → i ×4
G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
F G CIV → VIV → V AmVI → VIIVI → VII ×2
G C CV → Iauthentic cadence AmVII → III ×1

The move to watch is Em → Am, heard 7 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → vi. 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — 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.
On Db, follow the chord's notes (Db · F · Ab) rather than the key's scale — it's a borrowed colour.

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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. The backbone is Em, Am, G, Dm — iii–vi–V–ii from the C side, v–i–VII–iv from the Am side. A adds a moment of surprise: secondary dominant V/ii — leads to Dm. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. It closes on Em, letting the C 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.