Buray - Tam Benim Tipim - Chord

Key Db major – Bb minor Chords Ebm, Bbm, Fm, Gb, F7 Easy key C (capo 1)

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Capo 0

Bbm  Bbm  Ebm  Fm

Bbm
Sanıyor beni eskileri gibi

Peşinde koşarım mı sandın
Ebm
Öyle kolay olmayacak eminim
        Fm
Benim güven sorunlarım seninle arttı

Bbm
İnce belli gözü mavi kızım

Falımda keşke çıkmasaydın
Ebm
Mahvedip süründürür gecemi
         Fm
Dedim ki sen tüm sınırlarımı aştın

Gb
Unutturur tüm dertleri
             Ebm
O göz bebeklerin bırak beni hapsetsin
Gb
İstedim deli gibi
             Ebm       F7
Kokunla öp beni savaşmadan kaybettim

Bbm
Gözüm sende

Beni üzsen bile sevişmenle
                        Ebm
Neler inandırır ve kandırırsın beni

Çok zor değil
Fm
Vicdansızsın tam benim tipim
x2

Bbm  Bbm  Ebm  Fm

Gb
Unutturur tüm dertleri
             Ebm
O göz bebeklerin bırak beni hapsetsin
Gb
İstedim deli gibi
             Ebm       F7
Kokunla öp beni savaşmadan kaybettim

Bbm
Gözüm sende

Beni üzsen bile sevişmenle
                        Ebm
Neler inandırır ve kandırırsın beni

Çok zor değil
Fm
Vicdansızsın tam benim tipim
x2

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Buray - Tam Benim Tipim Tabs

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Harmony analysis

Buray – Tam Benim Tipim: key and chord analysis

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

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)
#7 = A (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 Bb minor side because it opens on Bbm, Bbm is heard 8 times while Db never appears and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	10×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	6×
V7/vi	F7	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C · Eb	2×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	4×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	8×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	8×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	10×
v	Fm	Minor dominant — soft pull	F · Ab · C	6×
V7	F7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C · Eb	2×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	4×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	—

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 30 times in total; 4 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F7 is V7/vi, a secondary dominant heading for Bbm.

Chord movement

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×3
F7 Bbm DbV7/vi → visecondary resolution BbmV7 → iharmonic-minor cadence ×2
Ebm F7 Dbii → V7/vi Bbmiv → V7iv → V ×2

The move to watch is Fm → Bbm, heard 3 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
When F7 comes, swap the scale's Ab for A: 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

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

The song's harmonic story

Starting on Bbm, the song gives away its key from the very first bar. The chords that keep coming back are Ebm, Bbm, Fm, Gb; read them as ii–vi–iii–IV in Db or iv–i–v–VI in Bbm. F7 is the interesting twist: in Db it is a chromatic chord (V7/vi), while in Bbm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. It closes on Fm, letting the Db 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.