Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Boş Liman - Kaldım İstanbul'da - Chord
Key Eb major – C minor Chords Gm7, Fm7, Abmaj7, Cm7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm7 Gm7 Fm7 Gm7 Abmaj7 Gm7 Fm7 Gm7
Gm7 Abmaj7 Gm7
Sahil sessiz bulutlar altında
Abmaj7 Fm7 Gm7
Durgun deniz adalar karşımda
Cm7 Gm7
Ben yine kaldım İstanbul'da
Fm7 Gm7
Takıldım ağlarına
Abmaj7 Gm7
Sen yine daldın gözyaşlarına
Fm7 Gm7
Döndün hatalarına
Cm7 Abmaj7 Gm7
Uzun uzun konuşsak yine
Cm7 Abmaj7 Fm7 Gm7
Susup susup bakınsak göğe
Cm7 Gm7 Fm7 Gm7 Abmaj7 Gm7 Fm7 Gm7
Gm7 Fm7 Gm7
Cadde renksiz sislerin ardında
Fm7 Gm7
Üzgün gezdim semtin parklarında
Cm7 Gm7
Ben yine kaldım İstanbul'da
Fm7 Gm7
Takıldım ağlarına
Abmaj7 Gm7
Sen yine daldın gözyaşlarına
Fm7 Gm7
Döndün hatalarına
Cm7 Abmaj7 Gm7
Uzun uzun konuşsak yine
Cm7 Abmaj7 Fm7 Gm7
Susup susup bakınsak göğe
End of song Play again?
Boş Liman - Kaldım İstanbul'da Tabs
NotesX
Harmony analysis
Boş Liman – Kaldım İstanbul'da: key and chord analysis
The song opens on Cm7 and ends on Gm7. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 8 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii7 | Fm7 | Supertonic — prepares the dominant | F · Ab · C · Eb | 13× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 26× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IVmaj7 | Abmaj7 | Subdominant — moves away from home | Ab · C · Eb · G | 10× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 8× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 8× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv7 | Fm7 | Subdominant — moves away from home | F · Ab · C · Eb | 13× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 26× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VImaj7 | Abmaj7 | Submediant — warm colour | Ab · C · Eb · G | 10× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 57 times in total; 4 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
- Gm7 Cm7 Ebiii7 → vi7 Cmv7 → i7natural-minor cadence ×7
The move to watch is Gm7 → Cm7, heard 7 times. From the Cm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Abmaj7, land on Ab, C, Eb — 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The opening Cm7 lays a solid floor for everything that follows. Gm7, Fm7, Abmaj7, Cm7 carry the song: iii7–ii7–IVmaj7–vi7 relative to Eb, v7–iv7–VImaj7–i7 relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm7 → Cm7 (iii7 → vi7 in Eb, v7 → i7 in Cm): natural-minor cadence — gentle, modal arrival. Ending on Gm7, the song seals Eb as home.
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.
Boş Liman - Kaldım İstanbul'da 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: Ogün SanlısoyMusic: Ogün SanlısoyArrangement: Gürkan Er
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