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)
Can Ozan - Kadıköy - Chord
Key Bb major – G minor Chords Gm, Cm, D7, Eb, F Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm
Bir akşam masası, iki kişiyiz sen ben
Cm Gm
Gidiyorsun hiçbir şey söylemeden, birden
F Gm
Kadıköy’de bir yağmurlu bahçeden
Gm
Yıllar külleniyor, izi kalıyor aşkın
Cm Gm
Yüreğim kurtulsa da yangından, alevden
Cm Gm
Yana yana kül olayım, unutup yine sevdalanayım
Eb D7 Gm
Geçmem bir daha Kadıköy’den
Gm Cm D7 Gm
Sen uzaklarda ülkem, ben gurbette bir göçmen
Cm D7 Gm
Zamanı durdurabilsem, ne ben kalsam ne sen gitsen
Cm Gm
Yana yana kül olayım, unutup yine sevdalanayım
Eb D7 Gm
Geçmem bir daha Kadıköy’den
Gm
Ey akşam vapuru, sana mı kalır dünya
Cm Gm
Ben o yağmurlu iskeleye inmem, inmem
Cm Gm
Yana yana kül olayım, unutup yine sevdalanayım
Eb D7 Gm
Geçmem bir daha Kadıköy’den
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Can Ozan - Kadıköy Tabs
NotesX
Harmony analysis
Can Ozan – Kadıköy: 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.
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 16 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 5× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 3× |
| V | F | Dominant — strongest pull home | F · A · C | 1× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| 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 | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 5× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 3× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 1× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 33 times in total; 4 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 D7 is V7/vi, a secondary dominant heading for Gm.
Chord movement
- Cm Gm Bbii → vi Gmiv → iminor plagal ×6
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×5
- Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×2
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1
The move to watch is Cm → Gm, heard 6 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When D7 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. Gm, Cm, D7, Eb carry the song: vi–ii–V7/vi–IV relative to Bb, i–iv–V7–VI relative to Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) 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. It closes on Gm, letting the Gm side have the last word.
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.
Can Ozan - Kadıköy Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Hüsnü ArkanMusic: Hüsnü ArkanArrangement: Canozan
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