Merve Özbey - Kaptan (Emrah Karaduman) - Chord

Key Eb major – C minor Chords Bb, Ab, Cm, Gm, Gb, Fm Easy key G

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Capo 0

Cm                Bb
Bugün de ölmedik ama yaşadık mı meçhul
Ab                       Gb        Bb
Kaç yangından sağ çıktım senin haberin yok
Cm                 Bb
Kaybedecek hiçbi şeyim yok orası kabul
Ab                 Gb           Bb
Ne varsa aldın elimden dünya benden kork

Cm                 Bb
Canımı hiçbi şey yakamaz benim artık
Ab                Gb          Bb
Yakın arkadaşım oldu sanki yalnızlık
Fm                 Bb      Ab
Bu neyin bedeliydi öde öde bitmedi
Gm
Hayat değil benimki hapis yarı açık

Cm                Bb
Ne halay çektirir ne ağıt yaktırır
Gm              Ab       Bb
Kalpsizi ağlatır benim hayatım
Cm                  Bb
Şu gözümden akanlar yaş değil ki yıllar
Gm            Ab          Bb
Ben gencim kalbim ihtiyar bundan isyanım

Cm
Biz ne yoldaşlar gördük
Bb
İki güne yolda bırakan
Ab
Biz ne sırdaşlar gömdük
Gm
Diliyle canımızı acıtan
Cm             Bb
İstediği kadar dibe batsın ömrüm
Ab                 Gm
Benim ben gemisini terketmeyen kaptan

End of song Play again?

Merve Özbey - Kaptan (Emrah Karaduman) Tabs

NotesX

Harmony analysis

Merve Özbey – Kaptan (Emrah Karaduman): key and chord analysis

The song opens on Cm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

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)

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 7 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	1×
bIII	Gb	Borrowed from the parallel minorborrowed chord	Gb · Bb · Db	3×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	5×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	8×
V	Bb	Dominant — strongest pull home	Bb · D · F	13×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	7×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	7×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	1×
#IV	Gb	Chromatic colour chordoutside the key	Gb · Bb · Db	3×
v	Gm	Minor dominant — soft pull	G · Bb · D	5×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	8×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	13×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 37 times in total; 5 of them sit naturally inside the shared scale. Gb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×4
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×2
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×2
Fm Bb Ebii → Vii → V Cmiv → VII ×1

The move to watch is Bb → Cm, heard 4 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — 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.
On Gb, follow the chord's notes (Gb · Bb · Db) rather than the key's scale — it's a borrowed colour.

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

4 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Bb, Ab, Cm, Gm; read them as V–IV–vi–iii in Eb or VII–VI–i–v in Cm. Gb briefly darkens the picture: borrowed from the parallel minor. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. It closes on Gm, letting the Eb 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.