Buray - Adım Adım - Chord

Key C major – A minor Chords F, G, Dm, Em, Am, Bm7b5, A7 Easy key G (capo 5)

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Capo 0

Am               F
Kapında aşığındı nice sevdalar
G                        F         G
Hiç açmadın bakmadın bile aralıklardan
Am             F
Sadece avundum senden kalanla
G                            F         G
Çok Hasar aldım iyileşemedim geçmedi yaram

Am                F
Kaç kere taşındım adres sormadan
Dm              G                F             Em
Kendimi unuttum sen bi kere bile çıkmadın aklımdan
Am                 F
Durmadan ne duydun çektiğim azaptan
Dm              G                F            Em
Hiç başaramadım her gece ağladım gittin ardından

Em              Dm         G
Doldurdum boşalttım kadehleri
Dm            Am     F         Em
Siler diye geçmişten kalan izleri
  Dm              G           A7
Diner diye bana yaşattığın bu ızdırap
Dm          F         Bm7b5    Em
Yaktım sana ait ne varsa her şeyi

Em                 Dm        Em
Geceden gündüze sensiz çıkamadım
                    Dm        Am
Kaç yıl geçirdim aradan sayamadım
Dm            G          Am
Kapıldım karanlığa gidiyorum
F                 Bm7b5     Em
Sona varıyorum sanki adım adım

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Buray - Adım Adım Tabs

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Harmony analysis

Buray – Adım Adım: key and chord analysis

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

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 7 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	9×
iii	Em	Mediant — a tonic-family shade	E · G · B	8×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	11×
V	G	Dominant — strongest pull home	G · B · D	9×
vi	Am	Relative minor — the melancholy side	A · C · E	7×
V7/ii	A7	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E · G	1×
viiø7	Bm7b5	Leading-tone chord — tension	B · D · F · A	2×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	7×
V7/iv	A7	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E · G	1×
iiø7	Bm7b5	Supertonic — prepares the dominant	B · D · F · A	2×
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	9×
v	Em	Minor dominant — soft pull	E · G · B	8×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	11×
VII	G	Subtonic — steps back to the tonic	G · B · D	9×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 47 times in total; 6 of them sit naturally inside the shared scale. A7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Dm G Cii → Vii → V Amiv → VII ×5
F G CIV → VIV → V AmVI → VIIVI → VII ×4
G Am CV → videceptive cadence AmVII → iAeolian arrival ×3
Dm Am Cii → vi Amiv → iminor plagal ×2
Em Am Ciii → vi Amv → inatural-minor cadence ×1
A7 Dm CV7/ii → iisecondary resolution AmV7/iv → iv ×1

The move to watch is Dm → G, heard 5 times. From the Am side it is iv → VII; from the C side it reads ii → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over F, land on F, A, C — 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.
Over Dm, 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Am lays a solid floor for everything that follows. The backbone is F, G, Dm, Em — IV–V–ii–iii from the C side, VI–VII–iv–v from the Am side. A7 adds a moment of surprise: secondary dominant V/ii — leads to Dm. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. The final chord is Em; the ear comes to rest in C.

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.