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)
Çocuk Şarkıları - Evde Kal (Buray) - Chord
Key C major – A minor Chords C, G, F, Dm, Am, Em Easy key G (capo 5)
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Key: C | Am
Capo: 0
G C G C F C Dm C Biliyorum çok sıkıldın, dışarı çıkmak istiyorsun G C G C Ama olmaz evde kal, olmaz evde kal F C Dm C Belki okulu özledin arkadaşlarını istedin G C G C Ama yoklar evde kal, yoklar evde kal C G Am Em Oyuncaklarını dağıt yatağına çık zıpla F C F G Biraz da mutfağı karıştır ama, evde kal evde kal C G Am Em Annene babana hikaye anlat, sabah akşam saklambaç oyna F C Dm G Biraz da yardım et onlara ama evde kal evde kal G C G C Evde kal evde kal, mikroplar dışarda sen evde kal G C G C Evde kal evde kal, geçecek bunlar evde kal F Am Dm C Yaza ne kaldı şurada mikroplar binecek uçağa G C G C Kumlara denizlere kavuşacağız, evde kal evde kal F C Dm C Havalar daha sıcak olunca mikroplar varacak uzaya G C Parklara oyunlara kavuşacağız G C G C Evde kal evde kal, mikroplar dışarda sen evde kal G C G C Evde kal evde kal, geçecek bunlar evde kal
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Çocuk Şarkıları - Evde Kal (Buray) Tabs
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Harmony analysis
Çocuk Şarkıları – Evde Kal (Buray): key and chord analysis
The song opens on G and ends on C. 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 C major side because it comes to rest on C and C is heard 28 times against 3 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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 | 28× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 5× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 2× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 7× |
| V | G | Dominant — strongest pull home | G · B · D | 21× |
| vi | Am | Relative minor — the melancholy side | 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 | 3× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 28× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 5× |
| v | Em | Minor dominant — soft pull | E · G · B | 2× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 7× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 21× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 66 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
- G C CV → Iauthentic cadence AmVII → III ×18
- F C CIV → Iplagal cadence AmVI → III ×5
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
- F G CIV → VIV → V AmVI → VIIVI → VII ×1
- Dm G Cii → Vii → V Amiv → VII ×1
- F Am CIV → vi AmVI → iVI → i ×1
The move to watch is G → C, heard 18 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → III. 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 C, land on C, E, G — 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.
- Over F, 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 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 opening G lays a solid floor for everything that follows. The chords that keep coming back are C, G, F, Dm; read them as I–V–IV–ii in C or III–VII–VI–iv in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. The final chord is C; the ear comes to rest in C.
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.
Çocuk Şarkıları - Evde Kal (Buray) 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: Gözde AnçelMusic: Gözde Ançel
Buray
Buray
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