Buray - Kabahat Bende - Chord

Key D major – B minor Chords F#m, Em, Bm, A, D Easy key C (capo 2)

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Capo 0

F#m  F#m

             F#m              Bm
Dalmışım sulara, yine yüzemiyorum
            A   Em            F#m
Beni kurtaracak, yeleğin bile yok
                            Bm
Avare olmuşum, öyle dolanıyorum
           A  Em            F#m
Temenni edecek dileğim bile yok

F#m       A     Em           F#m
İstesem olmuyor, kapandı kapılar
Bm          A  Em        F#m
Bela bir aşktan kurtulamadım
          A     Em           F#m
İstesem olmuyor, kapandı kapılar
Bm         A  Em          F#m
Nihayet buldum sayende şansı

Bm
Yar yan sen de, sar bin derde
D          Em           A   
Düşsen bile kaldıramam, kal yerlerde

Ben tükendim, bak sayende
F#m       A           Em         F#m
Seni hala seviyorsam, kabahat bende

(Nakarat aşağıdaki şekilde daha fazla geçişle de çalınabilir)

Bm  F#m     Bm      F#m    Bm
Yar yan sen de, sar bin derde
D          Em           A   Em    A 
Düşsen bile kaldıramam, kal yerlerde
    Em   A        Em   A
Ben tükendim, bak sayende
F#m       A           Em         F#m
Seni hala seviyorsam, kabahat bende 

F#m  Bm  F#m  Bm  F#m  Bm  Em  A
F#m  Bm  F#m  Bm  F#m  Bm  Em  F#m

End of song Play again?

Buray - Kabahat Bende Tabs

NotesX

Harmony analysis

Buray – Kabahat Bende: key and chord analysis

The song opens on F#m and ends on F#m. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the B minor side because Bm is heard 14 times against 2 for D. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	2×
ii	Em	Supertonic — prepares the dominant	E · G · B	15×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	23×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	—
V	A	Dominant — strongest pull home	A · C# · E	14×
vi	Bm	Relative minor — the melancholy side	B · D · F#	14×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	14×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	2×
iv	Em	Subdominant — moves away from home	E · G · B	15×
v	F#m	Minor dominant — soft pull	F# · A · C#	23×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	—
VII	A	Subtonic — steps back to the tonic	A · C# · E	14×

Analysis

The key pair is D major and its relative B minor (2 sharps). 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

F#m Bm Diii → vi Bmv → inatural-minor cadence ×14
Em A Dii → Vii → V Bmiv → VII ×6

The move to watch is F#m → Bm, heard 14 times. From the Bm side it is v → i (natural-minor cadence: gentle, modal arrival); from the D side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — 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 D major shapes

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening F#m lays a solid floor for everything that follows. The chords that keep coming back are F#m, Em, Bm, A; read them as iii–ii–vi–V in D or v–iv–i–VII in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → Bm (iii → vi in D, v → i in Bm): natural-minor cadence — gentle, modal arrival. The final chord is F#m; the ear comes to rest in D.

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.