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)
Kaan Boşnak - Beklenen Gemi - Chord
Key C major – A minor Chords Am, Dm, G, E Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Dm
Sanki geçmemiş zaman özlemle dolmuşuz
G Am
Filizlenlere özlemle solmuşuz
Am Dm
Gerçeğimizden sıkılmış kopmuşuz
G Am
Bir gün gelir belki beklenen gemi
Dm G
Gördüklerimize inanmaz olmuşuz
E Am
Nerede bu umut kimde unutmuşuz
Dm G
Günler geçerken biz, nasıl da durmuşuz
E Am
Bilmem bu gemi seni getirir mi
Dm G
Aynı yanlışa takılıp kalmışız
E Am
Aynı yerden çok kez kırılmışız
Dm
Aldığımız darbeden nasırlaşmışız
E Am
Doğru yol belki sadece bir parti
Am Dm
Sanki yanlış yerlere bağlaçlar koymuşuz
G Am
Yanlış zarfları kuşla uçurmuşuz
Dm
Vurduğumuz kuşları şaire sormuşuz
G Am
Şair bilir mi ki bendeki seni
Dm G
Şimdi gelsem sana zaman ötesinden
E Am
Sesinden öpsem ya da nefesinden
Dm G
Düğümlerimizden çözülsek ya birden
E Am
Eminim bu hasret bitmez ki sevgili
Dm G
Zamanla işim yok her şey izafi
E Am
Kolektif bilinçte aşıklar bir hayli
Dm
Bizde geçmişte olmamıştık belki
E Am
Kalpteki yerin değişmez o baki
Dm G
Şimdi gelsem sana zaman ötesinden
E Am
Sesinden öpsem ya da nefesinden
Dm G
Düğümlerimizden çözülsek ya birden
E Am
Eminim bu hasret bitmez ki sevgili
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Kaan Boşnak - Beklenen Gemi Tabs
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Harmony analysis
Kaan Boşnak – Beklenen Gemi: key and chord analysis
The song opens on Am and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
- #7 = G# (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 A minor side because it both starts and finishes on Am, Am is heard 17 times while C never appears and the major V chord points straight at Am. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 14× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 10× |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | 12× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 17× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 17× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 14× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 10× |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 12× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 53 times in total; 3 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am.
Chord movement
- Dm G Cii → Vii → V Amiv → VII ×12
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×10
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
- Dm E Cii → V/vi Amiv → Viv → V ×2
The move to watch is Dm → G, heard 12 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 Am, land on A, C, E — 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.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- When E comes, swap the scale's G for G#: 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Am lays a solid floor for everything that follows. The backbone is Am, Dm, G, E — vi–ii–V–V/vi from the C side, i–iv–VII–V from the Am side. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. It closes on Am, letting the Am 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.
Kaan Boşnak - Beklenen Gemi 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: Oya BarutçuMusic: Kaan BoşnakArrangement: Kaan Boşnak
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