Buray - Seni Sevmiyorum Artık - Chord

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

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Capo 0

F#m    Em          F#m
Seni sevmiyorum artık
            A
Yalana dolana battık
Em                A
Hele nispet gülüşler
         B        Em
Günü dolmuş vaatler 
F#m        Em      F#m
Bana uymaz git yazık

F#m  Em  F#m  A  Em  A  B  Em  F#m  Em  F#m

F#m
Ben yokluklardan
F#m
Tüm zorluklardan
A      Bm
Dipsiz yalnızlıklardan
Em
Kıvranıp dururken

Em
Sen sizsiz kaldın
Em
Mehtabı hiçe saydın
A                  G
Gün ortası güneşlere
A
Hasret bıraktın

D
Yok kal deme bana
D
Boşuna yalvarışlar
Em
Canıma dokunmuyor
G             F#m
Ne söylesen zaten

D
Hiç gözüme bakma
D
Yaramaz çırpınışlar
Em
Şimdiye kadar söylemekte
G             F#m
Geç kaldım aslen 

F#m    Em          F#m
Seni sevmiyorum artık
            A
Yalana dolana battık
Em                A
Hele nispet gülüşler
         B        Em
Günü dolmuş vaatler 
F#m       Em      F#m
Bana uymaz git yazık

End of song Play again?

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Harmony analysis

Buray – Seni Sevmiyorum Artık: 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 D major side because D is heard 4 times against 1 for Bm. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

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	4×
ii	Em	Supertonic — prepares the dominant	E · G · B	17×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	16×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	3×
V	A	Dominant — strongest pull home	A · C# · E	9×
vi	Bm	Relative minor — the melancholy side	B · D · F#	1×
V/ii	B	Secondary dominant V/ii — leads to Emsecondary dominant	B · D# · F#	3×
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#	1×
V/iv	B	Secondary dominant V/iv — leads to Emsecondary dominant	B · D# · F#	3×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	4×
iv	Em	Subdominant — moves away from home	E · G · B	17×
v	F#m	Minor dominant — soft pull	F# · A · C#	16×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	3×
VII	A	Subtonic — steps back to the tonic	A · C# · E	9×

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 53 times in total; 6 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Em A Dii → Vii → V Bmiv → VII ×4
A D DV → Iauthentic cadence BmVII → III ×1
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1
G A DIV → VIV → V BmVI → VIIVI → VII ×1

The move to watch is Em → A, heard 4 times. From the D side it reads ii → V (ii → V: the classic preparation of the dominant); from the Bm side it is iv → VII. 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — 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 first chord is F#m; the ear learns where home is within a second. The backbone is Em, F#m, A, D — ii–iii–V–I from the D side, iv–v–VII–III from the Bm side. B adds a moment of surprise: secondary dominant V/ii — leads to Em. Keep an ear on Em → A (ii → V in D, iv → VII in Bm): ii → V — the classic preparation of the dominant. Ending on F#m, the song seals D as home.

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.