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)
Mustafa Ceceli - İstanbul Ankara (Azat Taş) - Chord
Key Eb major – C minor Chords Gm7, Bb, Cm7, Ab, Fm7 Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Gm7 Cm7
Her gece benle gözlerin, bi' sabah benle bakmadı
Bb
Vazgeçtiği günden beri, aşka inancım kalmadı
Gm7 Ab
Benim çabam aşkımaydı, beni sev diye olmadı
Fm7 Gm7
Duygularımla oynadın bu sana hiç yakışmadı
Gm7 Cm7
Gidemezsin gidemezsin beni bırakıp da böyle
Bb
Çok seviyorum seni tarifi yoktu bi' dilde
Gm7 Bb Ab
Diyemezsin diyemezsin seni sevmemişim diye
Fm7 Gm7
Beni geceye bağladı, sen kal tabi güneşinle
Gm7 Cm7
Sen İstanbul ben Ankara, kokun gelir durur bana
Bb
Sen giden bense kalan, nedendir benim ağlayan
Gm7 Ab
Her gün öldürdü beni, bi' sever bi' sormaz yalan
Fm7 Gm7
Dönmeyi düşünme hiç, aynı kitabı okumam
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Mustafa Ceceli - İstanbul Ankara (Azat Taş) Tabs
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Harmony analysis
Mustafa Ceceli – İstanbul Ankara (Azat Taş): key and chord analysis
The song opens on Gm7 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 Cm is heard 3 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 | 3× |
| iii7 | Gm7 | Mediant — a tonic-family shade | G · Bb · D · F | 9× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 3× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 4× |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 3× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 3× |
| 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 | 3× |
| v7 | Gm7 | Minor dominant — soft pull | G · Bb · D · F | 9× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 3× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 4× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 22 times in total; 5 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 ×3
The move to watch is Gm7 → Cm7, heard 3 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — 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 Gm7 lays a solid floor for everything that follows. Gm7, Bb, Cm7, Ab carry the song: iii7–V–vi7–IV relative to Eb, v7–VII–i7–VI 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.
Mustafa Ceceli - İstanbul Ankara (Azat Taş) 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: Azat TaşMusic: Azat TaşArrangement: Mustafa Ceceli
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