Buray - Senin Yüzünden (Arem Ozguc - Arman Aydin) - Chord

Key Gb major – Eb minor Chords Ebm, Db, Abm, Bbm Easy key C (capo 6)

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Capo 0

Ebm
Döner başım
                   Db
Tüter gecenin dumanı
                     Abm
Aklım eskisinden bulanık
                   Bbm
Bakıp resmine kurarım hayalini
                      Ebm
Söyle sana nasıl doyarım

Yanına konarım kuş olup
Db
Yolum yokuş olur, canımı veririm
Abm
Her yolu denedim, tutamam çenemi
Bbm
Bir tek ismin aydınlatır gecemi

Ebm
Yollar uzak geçit yok
Db
Gelemem ben gelemem ben
Abm
Kapandım dört duvara
Bbm
Yasakları delemem ben

Ebm
Kaybolur izlerin ah
Db
Ben yüzünü göremezsem
Abm
Nefessiz kaldım İstanbul
Bbm
Senin yüzünden

Ebm  Db  Abm  Bbm              Ebm
                Senin yüzünden ah
Db                       Abm  Bbm
Bilmiyorlar bilmiyorlar, ah

Ebm
Şu kara gecelere, bitik hecelere
Db
Yeminim var yeminim var
Abm
Kimselere sormam olmaz
Bbm
Güneş inan doğmaz yoksan

Ebm
Tabi nefes alamam sensiz
Db                 Abm
Nasıl heder olmuşsaam
                          Bbm
Aşkların en çilelisi beni bulmuş çoktan

Ebm
Yollar uzak geçit yok
Db
Gelemem ben gelemem ben
Abm
Kapandım dört duvara
Bbm
Yasakları delemem ben

Ebm
Kaybolur izlerin ah
Db
Ben yüzünü göremezsem
Abm
Nefessiz kaldım İstanbul
Bbm
Senin yüzünden

Ebm  Db  Abm  Bbm              Ebm
                Senin yüzünden ah
Db                       Abm  Bbm
Bilmiyorlar bilmiyorlar, ah

End of song Play again?

Buray - Senin Yüzünden (Arem Ozguc - Arman Aydin) Tabs

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Harmony analysis

Buray – Senin Yüzünden (Arem Ozguc - Arman Aydin): key and chord analysis

The song opens on Ebm and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

Major view

Gb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F (leading tone, pulls home)
4 = Cb (the note that leans on the 3rd)

Minor view

Eb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Cb (the minor's melancholy)
b7 = Db (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb minor side because it opens on Ebm and Ebm is heard 12 times while Gb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	12×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	12×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	Cb	Subdominant — moves away from home	Cb · Eb · Gb	—
V	Db	Dominant — strongest pull home	Db · F · Ab	12×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	12×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	12×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	12×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	12×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	Cb	Submediant — warm colour	Cb · Eb · Gb	—
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	12×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 48 times in total; 4 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

Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×11

The move to watch is Bbm → Ebm, heard 11 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
Over Abm, land on Ab, Cb, Eb — 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 Gb major shapes

Capo 2 + E shapes
Capo 4 + D shapes
Capo 6 + C shapes

With Eb minor shapes

Capo 1 + Dm shapes
Capo 6 + Am shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone up

The song's harmonic story

The opening Ebm lays a solid floor for everything that follows. Ebm, Db, Abm, Bbm carry the song: vi–V–ii–iii relative to Gb, i–VII–iv–v relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. It closes on Bbm, letting the Gb 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.