Bora Duran - Leyla - Chord

Key C major – A minor Chords Em, Dm, Am, G, Gm, F, D, C#m … Easy key G (capo 5)

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Capo 0

Em  Dm  Em

Em           Dm        Em
Bir sabah çıksam kaybolsam
            Dm       Em
Dönmesem kalsam anılarda
             Dm         Am     G
Belki bir sevda türküsünde vurulurdum
Gm          F       Em
Gel künyemi al dağlardan

Em           Dm      Em
Aşk nedir söyle kayboldum
             Dm      Em
Belki bir düşte unutulmak
              Dm        Am     G
Her sabah bir dev masalında uyanınca
Gm           F         Em
Hep çocuk kalmak, kurtulmak

Am      G        Em
Kar yağıyor bu gece
Am     G        Em
Öyle beyaz ki şehir
D   C#m      C     Am
Anlamak bir ömür sürer
  Gm    F       Em
Hayat niye kirlenir

Em           Dm       Em
Ben kimim söyle kayboldum
            Dm        Em
Dönmedim kaldım anılarda
              Dm        Am     G
Her sabah bir çöl masalında uyanırdım
Gm          F         Em
Belki de yanlış bir Leyla

End of song Play again?

Bora Duran - Leyla Tabs

NotesX

Harmony analysis

Bora Duran – Leyla: 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 6 times against 1 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	1×
bii	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×
ii	Dm	Supertonic — prepares the dominant	D · F · A	10×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	1×
iii	Em	Mediant — a tonic-family shade	E · G · B	17×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	4×
V	G	Dominant — strongest pull home	G · B · D	5×
v	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×
vi	Am	Relative minor — the melancholy side	A · C · E	6×
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	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	1×
#iii	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×
iv	Dm	Subdominant — moves away from home	D · F · A	10×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	1×
v	Em	Minor dominant — soft pull	E · G · B	17×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	4×
VII	G	Subtonic — steps back to the tonic	G · B · D	5×
vii	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 9 different chords appear 49 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Dm Am Cii → vi Amiv → iminor plagal ×3
Em Am Ciii → vi Amv → inatural-minor cadence ×2

The move to watch is Dm → Am, heard 3 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → 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 Dm, land on D, F, A — 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.

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 Em lays a solid floor for everything that follows. Em, Dm, Am, G carry the song: iii–ii–vi–V relative to C, v–iv–i–VII relative to Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. The final chord is Em; 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.