Buray - Hayat Sürer - Chord

Key Bb major – G minor Chords Gm, F, Am, Eb, D, Cm, Bb, G … Easy key C

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Gm       F        Eb        D               
Bir gün gelir, o aşk biter ya
Gm      F          Bb
Bir acı dolar yüreğine
Cm      Gm     Cm      Gm
Karanlıklar birden çöker ya
Eb              D    Gm
Dünya yalan ve sen yalnız

Gm      F      Eb       D              
Son buluşma deprem gibi ya
Gm      F            Bb
Sarsar birden tüm benliğini
Cm       Gm     Cm        Gm
Aşkım derken, sesin titrer ya
Eb         D      Gm
Kelimeler birer hançer

Gm      F     Eb     D              
Arkasından baka dururken
Gm    F            Bb
Düğümlenmiş hıçkırıklar,
Cm     Gm   Cm         Gm
Gözlerine yaşlar dolar ya
Eb         D     Gm
Ümitlerin param parça

Gm        F      Eb      D 
Yaşlı gözler, boşa bakarken
Gm       F           Bb
Saatler geçmez, acı dolu
Cm       Gm      Cm     Gm
Her günün bir, kabus olur ya
Eb        D      Gm
Hayat birden acımasız

Gm  F   Eb  D  Gm  F   Bb
Bu da geçer, dertler biter
Cm  Gm  Cm  Gm   Eb     D  Gm
Acı     diner,   hayat sürer

   Am     G      F         E
Bir gün bu da, bu da geçer ya
Am      G            C
Güneş doğar başka yönden
Dm     Am     Dm       Am
Bir tesadüf, seni bulur ya
F           E    Am
Yaşananlar unutulur

     Am   G     F            E
Bir yabancı, hafif bir tebessüm
Am      G           C
Bir kıvılcım gözlerinde
Dm      Am       Dm       Am
Heyecan birden, seni sarar ya
F               E   Am
Kalbin tekrar aşkla dolar

     Am     G    F       E
Bir bakıştır, kalbini çalan
Am    G                 C
Bir sevinç ki, yüzün güler
Dm     Am         Dm        Am
Aşk böyledir, beklenmediktir ya
F              E      Am
Dünya birden, başka güzel

Gm  F   Eb  D  Gm  F   Bb
Bu da geçer, dertler biter
Cm  Gm  Cm  Gm   Eb     D  Gm
Acı     diner,   hayat sürer

End of song Play again?

Buray - Hayat Sürer Tabs

NotesX

Harmony analysis

Buray – Hayat Sürer: key and chord analysis

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

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)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (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 G minor side because it both starts and finishes on Gm, Gm is heard 30 times against 6 for Bb and the major V chord points straight at Gm. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	6×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	12×
V/V	C	Secondary dominant V/V — leads to Fsecondary dominant	C · E · G	3×
iii	Dm	Mediant — a tonic-family shade	D · F · A	6×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	12×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	12×
#IV	E	Chromatic colour chordoutside the key	E · G# · B	6×
V	F	Dominant — strongest pull home	F · A · C	18×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	30×
V/ii	G	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D	6×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
vii	Am	Chromatic colour chordoutside the key	A · C · E	15×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	30×
V/iv	G	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D	6×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
ii	Am	Chromatic colour chordoutside the key	A · C · E	15×
III	Bb	Relative major — the bright side	Bb · D · F	6×
iv	Cm	Subdominant — moves away from home	C · Eb · G	12×
IV	C	Major IV — Dorian / melodic-minor colourmodal colour	C · E · G	3×
v	Dm	Minor dominant — soft pull	D · F · A	6×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	12×
VI	Eb	Submediant — warm colour	Eb · G · Bb	12×
#VI	E	Chromatic colour chordoutside the key	E · G# · B	6×
VII	F	Subtonic — steps back to the tonic	F · A · C	18×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 11 different chords appear 126 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm. G, C act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×12
Cm Gm Bbii → vi Gmiv → iminor plagal ×12
F Bb BbV → Iauthentic cadence GmVII → III ×6

The move to watch is D → Gm, heard 12 times. From the Gm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V/vi → vi. 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 Gm, land on G, Bb, D — 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.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
When D comes, swap the scale's F for F#: 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 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

Starting on Gm, the song gives away its key from the very first bar. Gm, F, Am, Eb carry the song: vi–V–vii–IV relative to Bb, i–VII–ii–VI relative to Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → Gm (V/vi → vi in Bb, V → i in Gm): harmonic-minor cadence — the major V resolves dramatically. It closes on Gm, letting the Gm 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.