Buray - Haykırasım Var (Kezzo) - Chord

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

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Capo 0

        Gm                      Cm
Bazen güneş, bazen soğuk, bazen sıcak
                  Gm
Bazen ılık, bazen taş gibiydi kalbin
            Cm
Bazen bazen bazen kırık
       Gm                    Cm
Bazen sıcak yaran anlamazsın taze taze acı
       Gm                      Cm
Bazen haykırmak istersin olmaz çünkü sesin kısık

       Gm                Cm
Hep mi karabasan, rüyana kara saçanlar
       Cm
Rüyana kara saçanlar
       Gm                        Cm
Bekara boşanmak kolay, onlar hep boş yapanlar, tez kaçanlar

Gm                 Cm
Keşke silah değil, olsa tahtadan sapanlar
Cm
Olsa tahtadan sapanlar
Gm                 Cm
Belki martılardan, önce gelecek hep baharlar

Gm               Cm
Her sabah aynaya söyle ben de nerdeyim
Gm                          Cm
Dedim ki sonra düşündüm bir yolcuyum, seferdeyim
Gm                      Cm
Her durakta bir bedende tanıştım, kederdeyim
Gm                     Cm
Trense kalktığında sen durakta, ben trendeyim

Gm                   Cm
Belki başka durakta, belki başka şehirde
Gm                   Cm
Belki başka yatakta, belki ölüm döşekte
Gm               Cm
Bazen çözüm kötekteyken, bazen çözüm köçekte
Gm                Cm
Bazen çözüm kaçmaktayken, bazen çözüm cürette

Gm               Cm          Gm
Denizimi bırakıp gitsin martılar
      Cm          Gm
Nasıl kızgın şarkılar
    Cm            Gm     F     Eb 
Seviyor sevmiyor, yorgun yapraklar

Cm            Dm             Cm
Gülümse artık kurtuldun diyorlar
     Dm       Cm
Beni anlamıyorlar
Dm         Eb       Cm           D
Haykırasım var ardından, bıraksınlaaar

Gm  Cm  Gm  Cm

Gm                 Cm
Birine bakmak için geldiysen git olay başka
Gm                  Cm
Kimine sadık hayat, kimine mevzu durum başka
Gm                  Cm
Saygı varsa kal da, saygı yoksa çözüm kaçmak
Gm                  Cm
Sonuçta bardağın da hoşuna gitmiyor taşmak

Gm                    Cm
Bunları yazmak gerçekten zor sanki duvarları yıkmak
Gm                   Cm
Bazen geçmişe bakmak sanki bütün geleceği çöpe atmak
Gm                    Cm
Düşler hep tütün gibi bir çakmakta usulca yakmak
Gm                    Cm
Gitmek her şeyden bir boşluktan kendini yere atmak

Gm               Cm          Gm
Denizimi bırakıp gitsin martılar
      Cm          Gm
Nasıl kızgın şarkılar
    Cm            Gm     F     Eb
Seviyor sevmiyor, yorgun yapraklar

Cm            Dm             Cm
Gülümse artık kurtuldun diyorlar
     Dm       Cm
Beni anlamıyorlar
Dm         Eb       Cm           D
Haykırasım var ardından, bıraksınlar

Gm            Cm             Gm
Yaralar benim gönlümde hırsızlar
    Cm            Gm
Çalıyor dünü yarınlar
    Cm          Gm
Yakamozlar ardından
    Cm        Gm
Yakıyorsun aaaa

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Buray - Haykırasım Var (Kezzo) Tabs

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Harmony analysis

Buray – Haykırasım Var (Kezzo): 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 39 times while Bb never appears 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	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	46×
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	2×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	4×
V	F	Dominant — strongest pull home	F · A · C	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	39×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	39×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	46×
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	2×
VI	Eb	Submediant — warm colour	Eb · G · Bb	4×
VII	F	Subtonic — steps back to the tonic	F · A · C	2×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 99 times in total; 5 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.

Chord movement

Cm Gm Bbii → vi Gmiv → iminor plagal ×36
D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×2
Cm D Bbii → V/vi Gmiv → Viv → V ×2

The move to watch is Cm → Gm, heard 36 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — 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. Cm, Gm, Dm, Eb carry the song: ii–vi–iii–IV relative to Bb, iv–i–v–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 Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. The final chord is Gm; the ear comes to rest in Gm.

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.