Buray - Aşk Bitsin - Chord

Key F major – D minor Chords Bb, Dm, C, Gm, Am Easy key G

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Capo 0

Dm   Bb   C   Bb
Dm   Bb   C   Bb
   
      Dm  Bb         C        Bb
Acı yeter,  her bakışta bir elveda
      Dm    Bb          C        Bb
Yoruldu aşk,  göstermelik alkışlarda
      Gm            C 
Daha beter, olmadan çık bu yoldan
      Gm    Am       Dm 
Beni yak, bırak iplerimi

       Dm  Bb        C        Bb
Kim uyanır,  kim inanır bu rüyaya?
           Dm  Bb           C           Bb
Bir sen sevsen,  bir ben sevsem senden fazla
       Gm           C
Asra bedel olmasın düş yakamdan
    Gm        C         Dm
İçe at, söyleme sözlerini

         Dm                Bb
Bir sebepten, geldin kuruldun gönlüme
         Dm                Bb
hiç kimseyi, koymadım, koymam yerine
          C             Gm
Bu aşk bitsin, hadi Allah'ın nezdinde
    Am        Gm     Dm  Bb
Acıtmasın kimseyi, yeter

        Dm           Bb
Tutulmasın, bir daha ne ay ne güneş
        Dm            Bb
Konuşmasın, küssün güller bülbüllere
           C             Gm
Bu aşk bitsin, batsın dikenler elime
    Am     Gm         Dm  Bb
Kanasın, belki akar gider
       
Dm  Bb   Dm   Bb
Dm  Bb   Dm   Bb
C   Gm   Am   Gm  
Dm  Bb

End of song Play again?

Buray - Aşk Bitsin Tabs

NotesX

Harmony analysis

Buray – Aşk Bitsin: key and chord analysis

The song opens on Dm and ends on Bb. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it opens on Dm and Dm is heard 19 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	10×
iii	Am	Mediant — a tonic-family shade	A · C · E	4×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	23×
V	C	Dominant — strongest pull home	C · E · G	12×
vi	Dm	Relative minor — the melancholy side	D · F · A	19×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	19×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	10×
v	Am	Minor dominant — soft pull	A · C · E	4×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	23×
VII	C	Subtonic — steps back to the tonic	C · E · G	12×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 68 times in total; 5 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

Bb Dm FIV → vi DmVI → iVI → i ×11
Bb C FIV → VIV → V DmVI → VIIVI → VII ×9
Gm Dm Fii → vi Dmiv → iminor plagal ×3
Gm C Fii → Vii → V Dmiv → VII ×3
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
Am Dm Fiii → vi Dmv → inatural-minor cadence ×1

The move to watch is Bb → Dm, heard 11 times. From the Dm side it is VI → i (VI → i: falls a half step into home); from the F side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Bb, land on Bb, D, F — 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 C, land on C, E, G — 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. The backbone is Bb, Dm, C, Gm — IV–vi–V–ii from the F side, VI–i–VII–iv from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Dm (IV → vi in F, VI → i in Dm): VI → i — falls a half step into home. The final chord is Bb; the ear comes to rest in F.

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.