Buray - Durduramadım Gitti Yarım - Chord

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

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Capo 0

Bm  C  Bm  C  D  Am  Bm

Em      C               Am          D
Düpedüz sevmiyorum dedi bu kadar mı kolaydı
G              Am          C     D     Em
Dilinden çıkan bütün sözler beni kahretti
          C           Am         D
Olmayacak bir duaymış boşuna geçmiş yıllar
G         Am         C     D     Em
Hoşçakal bile demeden beni terketti

Bm        C      Bm            C
Yıkılıyor odalar her yanım taş duvar
Em          Bm       C           Bm
Ne kaldı sanki elimde kocaman boşluklar
            C            Bm    C
Durduramadım gitti yarım perişanım gece gece
D        Am            Bm  D     Em
Ömrümden ömür çaldı kaldı  sevdalıık

Bm          C           Bm     C
Durduramadım gitti yarım perişanım gece gece
D        Am            D  Am   Bm
Ömrümden ömür çaldı kaldı sevdalık

Bm  C  Bm  C  D  Am  D  Am  Bm

Bm        C      Bm            C
Yıkılıyor odalar her yanım taş duvar
Em          Bm       C           Bm
Ne kaldı sanki elimde kocaman boşluklar
            C           Bm     C
Durduramadım gitti yarım perişanım gece gece
D        Am            Bm  D     Em
Ömrümden ömür çaldı kaldı  sevdalıık

Bm          C           Bm     C
Durduramadım gitti yarım perişanım gece gece
D        Am            D  Am   Bm
Ömrümden ömür çaldı kaldı sevdalık

Bm          C           Bm     C
Durduramadım gitti yarım perişanım gece gece
D        Am            Bm  D     Em
Ömrümden ömür çaldı kaldı  sevdalıık

D         Am          D
Artık bir yokum bir varım
         Am        D
Ne ölürüm nede yaşarım
         C           Am
Dilim lal gözüm karanlık

End of song Play again?

Buray - Durduramadım Gitti Yarım Tabs

NotesX

Harmony analysis

Buray – Durduramadım Gitti Yarım: key and chord analysis

The song opens on Bm and ends on Am. 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 Em is heard 8 times against 2 for G. 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	2×
ii	Am	Supertonic — prepares the dominant	A · C · E	17×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	27×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	25×
V	D	Dominant — strongest pull home	D · F# · A	20×
vi	Em	Relative minor — the melancholy side	E · G · B	8×
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	8×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	2×
iv	Am	Subdominant — moves away from home	A · C · E	17×
v	Bm	Minor dominant — soft pull	B · D · F#	27×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	25×
VII	D	Subtonic — steps back to the tonic	D · F# · A	20×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 99 times in total; 6 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

C D GIV → VIV → V EmVI → VIIVI → VII ×9
Am D Gii → Vii → V Emiv → VII ×7
D Em GV → videceptive cadence EmVII → iAeolian arrival ×5
D G GV → Iauthentic cadence EmVII → III ×2
C Em GIV → vi EmVI → iVI → i ×2
Bm Em Giii → vi Emv → inatural-minor cadence ×1

The move to watch is C → D, heard 9 times. From the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IV → V (IV → V: the lift that builds tension before home). 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 Bm, land on B, D, F# — 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.
Over D, land on D, F#, A — 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

The first chord is Bm; the ear learns where home is within a second. The backbone is Bm, C, D, Am — iii–IV–V–ii from the G side, v–VI–VII–iv from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → D (IV → V in G, VI → VII in Em): VI → VII — the rising step that heads for the tonic. The final chord is Am; the ear comes to rest in G.

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.