Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Buray - İnci - Chord
Key Bb major – G minor Chords Dm, Cm, F, Gm, Eb, Bb, Am7b5, G7 Easy key C
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Key: Bb | Gm
Capo: 0
Dm Eb F Gm Cm Dm
Dm Cm Dm
Tek başıma içtim kahvemi
Cm Dm
Yudum yudum aktı özlemin
Bb Cm F Gm
Akasyalar da ardından derin uykuya
Cm Dm
Daldı, güz oldu hayallerim
Dm Cm Dm
Her fotoğrafın kasırga
Cm Dm
Bakışların yel değirmeni
Bb Cm F Gm
Döner durur, sarar yine taa en başına
Cm Dm
Sanki bir kaç asır öncesi
Bb Cm F Gm
Saçak saçak buz dökülür hatıralara
Cm Am7b5 Dm
Deler geçer, gecem zemheri
Bb Cm Dm
Ah akıyor akıyor
Eb G7 Cm
Hayat yine böyle aldırmadan
Eb Dm Eb
Gün sayıyor sayıyor dualarım
Cm Dm Cm
Usanmadan hiç yorulmadaaaan
F Gm Dm Eb
Sen benim olmazımsın ah
F Gm Dm Eb
Elimden gelmezimsin ah (Yerine konmazımsın ah)
Bb Cm F Gm
Tünel tünel açsam yine kapı duvar
Cm Dm
Her sokak çıkmazımsın ah
F Gm Dm Eb
Sedef sedef sıcak kumlara
F Gm Dm Eb
Dalıp dalıp karanlıklara
Bb Cm F Gm
İnci olup en zifiri okyanuslara
Cm Dm
Kabuğundan çıkmazımsın ah
End of song Play again?
Buray - İnci Tabs
NotesX
Harmony analysis
Buray – İnci: key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because Gm is heard 10 times against 6 for Bb. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 6× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 19× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 20× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 8× |
| V | F | Dominant — strongest pull home | F · A · C | 10× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 10× |
| V7/ii | G7 | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D · F | 1× |
| viiø7 | Am7b5 | Leading-tone chord — tension | A · C · Eb · G | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 10× |
| V7/iv | G7 | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D · F | 1× |
| iiø7 | Am7b5 | Supertonic — prepares the dominant | A · C · Eb · G | 1× |
| III | Bb | Relative major — the bright side | Bb · D · F | 6× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 19× |
| v | Dm | Minor dominant — soft pull | D · F · A | 20× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 8× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 10× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 75 times in total; 7 of them sit naturally inside the shared scale. G7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×10
- Cm F Bbii → Vii → V Gmiv → VII ×6
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×3
- Eb Bb BbIV → Iplagal cadence GmVI → III ×2
- G7 Cm BbV7/ii → iisecondary resolution GmV7/iv → iv ×1
The move to watch is F → Gm, heard 10 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, Cm, F, Gm — iii–ii–V–vi from the Bb side, v–iv–VII–i from the Gm side. G7 adds a moment of surprise: secondary dominant V/ii — leads to Cm. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. The final chord is Dm; the ear comes to rest in Bb.
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.
Buray - İnci 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 & BurayArrangement: Buray & Mustafa Başal
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