Buray - Ben Ölmeden Önce (Emrah Karaduman) - Chord

Key G major – E minor Chords Em, D, Bm, C, Am, A Easy key C (capo 7)

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Capo 0

Em            D  Bm                Em    A
Ben ölmeden önce,  bir sürü dostum vardı
              C  Bm               Em
Ben ölmeden önce,  bir sürü düşüm vardı
              Am  Bm              Em   A
Ben ölmeden önce,  bir sürü aşkım oldu
              C  Bm               Em
Ben ölmeden önce,  bir sürü hatam oldu

Em          C   D          Em
Her şeye rağmen pişman değilim
D           C   D          Em
Her şeye rağmen pişman değilim

         Em              Am
Ama yine de bazen düşündüğümde
              D  C   Bm        Am      D
Bir gün gelir de   yaşarım ben de yine
         Em                  Am
Tüm aşklarım, yalan mıydı ey Tanrım
       D     C   Bm   Am                    D
Çok yalnızım,       eriyorum yavaş yavaş, yavaş yavaş

Em            D  Bm                Em    A
Ben ölmeden önce,  bir sürü dostum vardı
              C  Bm               Em
Ben ölmeden önce,  bir sürü hatam oldu

End of song Play again?

Buray - Ben Ölmeden Önce (Emrah Karaduman) Tabs

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Harmony analysis

Buray – Ben Ölmeden Önce (Emrah Karaduman): key and chord analysis

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

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it both starts and finishes on Em and Em is heard 13 times while G never appears. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	5×
V/V	A	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E	3×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	8×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	7×
V	D	Dominant — strongest pull home	D · F# · A	9×
vi	Em	Relative minor — the melancholy side	E · G · B	13×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	13×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	5×
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	3×
v	Bm	Minor dominant — soft pull	B · D · F#	8×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	7×
VII	D	Subtonic — steps back to the tonic	D · F# · A	9×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 45 times in total; 5 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Bm Em Giii → vi Emv → inatural-minor cadence ×6
D Em GV → videceptive cadence EmVII → iAeolian arrival ×4
Am D Gii → Vii → V Emiv → VII ×4
C D GIV → VIV → V EmVI → VIIVI → VII ×2

The move to watch is Bm → Em, heard 6 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. Em, D, Bm, C carry the song: vi–V–iii–IV relative to G, i–VII–v–VI relative to Em. A adds a moment of surprise: secondary dominant V/V — leads to D. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. Ending on Em, the song seals Em 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.