Buray - Seni Çok Özledim - Chord

Key D major – B minor Chords A, D, G, Em7, Bm7 Easy key G (capo 7)

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Capo 0

D  G  D  G

         D
Ses çıkmadı
                    A
Telefonumdan kaç gündür
       G       A           D   A
Duymalıyım sesini gün geçmeden
       D                     A
Yapamazdık mesafeler çok uzakken
          G            A          D   A
Her fırsatta bir yol bulup görüşmeden
      D                          A
Arkadaşım sen olmadan renksiz dünyam
        G         A          D   A
Ben gülemem sen beni güldürmeden
        D                   A
Duramam ki biz senle barışmadan
                              D
Almak için şu gönlünü ne söylesem

Bm7
Huzurda vermiyor geceler
D
Bir muhabbet yok evimde
Em7                     A
Uzaksın bin ışık yılı kadar
Bm7
Umutsa vermiyor yarınlar
D
Nedense hep hüzün cebimde
Em7          G          A
Seni çok özledim bu aralar

          D
Ara sıra ara
         A
Bir şişe aşk kap gel bana sorma
    G            Em7            A
İki sohbetlik hatrımız olsun şu fani dünyada
          D
Ara sıra ara
      A
İçini dök konuş korkma azarla
    Em7                      G        A
Kulağım biraz seninle dolsun özledim ara

Bm7
Huzurda vermiyor geceler
D
Bir muhabbet yok evimde
Em7                     A
Uzaksın bin ışık yılı kadar
Bm7
Umutsa vermiyor yarınlar
D
Nedense hep hüzün cebimde
Em7          G          A
seni çok özledim bu aralar

          D
Ara sıra ara
         A
Bir şişe aşk kap gel bana sorma
    G            Em7            A
İki sohbetlik hatrımız olsun şu fani dünyada
          D
Ara sıra ara
      A
İçini dök konuş korkma azarla
    Em7                      G        A
Kulağım biraz seninle dolsun özledim ara

End of song Play again?

Buray - Seni Çok Özledim Tabs

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Harmony analysis

Buray – Seni Çok Özledim: key and chord analysis

The song opens on D and ends on A. 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 it opens on D and D is heard 18 times against 4 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	18×
ii7	Em7	Supertonic — prepares the dominant	E · G · B · D	8×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	11×
V	A	Dominant — strongest pull home	A · C# · E	22×
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	4×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i7	Bm7	Tonic — home	B · D · F# · A	4×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	18×
iv7	Em7	Subdominant — moves away from home	E · G · B · D	8×
v	F#m	Minor dominant — soft pull	F# · A · C#	—
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	11×
VII	A	Subtonic — steps back to the tonic	A · C# · E	22×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 63 times in total; 5 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

A D DV → Iauthentic cadence BmVII → III ×11
G A DIV → VIV → V BmVI → VIIVI → VII ×7
Em7 A Dii7 → Vii → V Bmiv7 → VII ×4
A Bm7 DV → vi7deceptive cadence BmVII → i7Aeolian arrival ×3
G D DIV → Iplagal cadence BmVI → III ×2

The move to watch is A → D, heard 11 times. From the D side it reads V → I (authentic cadence: the strongest arrival home); from the Bm side it is VII → III. 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 A, land on A, C#, E — 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 G, land on G, B, D — 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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The first chord is D; the ear learns where home is within a second. The chords that keep coming back are A, D, G, Em7; read them as V–I–IV–ii7 in D or VII–III–VI–iv7 in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → D (V → I in D, VII → III in Bm): authentic cadence — the strongest arrival home. The final chord is A; the ear comes to rest in D.

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.