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)
Ferdi Özbeğen - Büklüm Büklüm - Chord
Key C major – A minor Chords Am, E7, Dm, G, C, Bm7b5, A7, F Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am Dm G C Am E7 G C
Am Dm E7 Am Am Bm7b5 E7 Am
Am G F E7
Am E7
Ne söylesen ne beklesen
Am
Yaradan'dan ya da kaderinden
A7 Dm
Ele geçmez istediğin
E7 Am
Uğruna savaş vermediysen
Am E7
Sanki seni boğar gibi
Am
Sanki yeniden doğar gibi
A7 Dm
Sanki zaman zaman ölür gibi
Bm7b5 E7
Acısını, çilesini çekmediysen
Am Dm
Hani büklüm büklüm boynunda
E7 Am
Hani paramparça ruhunda
F Bm7b5
Hani soran gözlerle kapında
E7 G C
Bekleyen dargın anılar gibi
A7 Dm
Hani büklüm büklüm boynunda
G C
Hani paramparça ruhunda
F Bm7b5
Hani soran gözlerle kapında
E7 Am
Bekleyen dargın anılar gibi
Am E7
Sevilmeden de sevmeyi
Am
Neyi özlediğini bilmeyi
A7 Dm
Acı da olsa yine gerçeği
E7 Am
Görüp de söylemeyi bilmediysen
End of song Play again?
Ferdi Özbeğen - Büklüm Büklüm Tabs
NotesX
Harmony analysis
Ferdi Özbeğen – Büklüm Büklüm: key and chord analysis
The song opens on Am and ends on Am. 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)
- #7 = G# (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 A minor side because it both starts and finishes on Am, Am is heard 18 times against 4 for C and the major V chord points straight at Am. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 4× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 7× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V7/vi | E7 | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B · D | 13× |
| IV | F | Subdominant — moves away from home | F · A · C | 3× |
| V | G | Dominant — strongest pull home | G · B · D | 5× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 18× |
| V7/ii | A7 | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E · G | 4× |
| viiø7 | Bm7b5 | Leading-tone chord — tension | B · D · F · A | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 18× |
| V7/iv | A7 | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E · G | 4× |
| iiø7 | Bm7b5 | Supertonic — prepares the dominant | B · D · F · A | 4× |
| III | C | Relative major — the bright side | C · E · G | 4× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 7× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V7 | E7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B · D | 13× |
| VI | F | Submediant — warm colour | F · A · C | 3× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 5× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 58 times in total; 6 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am. A7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×11
- G C CV → Iauthentic cadence AmVII → III ×4
- Dm E7 Cii → V7/vi Amiv → V7iv → V ×4
- Bm7b5 E7 Cviiø7 → V7/vi Amiiø7 → V7ii° → V ×4
- A7 Dm CV7/ii → iisecondary resolution AmV7/iv → iv ×4
- Dm G Cii → Vii → V Amiv → VII ×2
The move to watch is E7 → Am, heard 11 times. From the Am side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V7/vi → vi (secondary resolution: E7 resolves a fourth up to Am). 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over E7, 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.
- When E7 comes, swap the scale's G for G#: 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 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
Starting on Am, the song gives away its key from the very first bar. Am, E7, Dm, G carry the song: vi–V7/vi–ii–V relative to C, i–V7–iv–VII relative to Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on E7 → Am (V7/vi → vi in C, V7 → i in Am): harmonic-minor cadence — the major V resolves dramatically. It closes on Am, letting the Am 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.
Ferdi Özbeğen - Büklüm Büklüm 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: Sezen AksuMusic: Sezen Aksu
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