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)
Güney Marlen - Kaldırımları İşgal Eden Arabalar - Chord
Key Bb major – G minor Chords Gm, Cm, D, Adim, Bb Easy key C
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Key: Bb | Gm
Capo: 0
Gm
Bu sistem otobüs klimasına benzer
Kışın soğuk yazın sıcak üfler
Dikkat et torpil yoksa eğer
Yokuş sokaklarda yürür bu gençler
Gm
Çürük tahtaya hep ben bastım
Ayıya dayı demeden köprüyü yıktım
Bir ağaç ekip de bırakmadım
Sonra niye dertli benim başım
Gm
Lütfen kalbime bir kelepçe
Yoruldu yürek hep sevdikçe
Büyük aşklar da bitti be Neyzen
Ambalajlı aşkları neyleyim ben
Gm
Ne zaman sorgulasam hayatı
Ters dönüyor gülen suratın ağzı
Yine su alıyoruz kovalar küçük
Taşı taşı bitmez bir ömür bu yük
Gm
Boğa güreşinde boğayı tutuyorum
Adim
Balık sürüsünde ters gidiyorum
Bb
Kız Kulesi’nde rakı buluyorum
Cm D Gm
Hesap girerse hemen kaçıyorum
Gm D
Kaldırımları işgal eder belki bütün arabalar
Cm Gm
Oysa onları devirecek bir gün bütün bu yayalar
D
Kuşların seslerini bastırmaya çalışır tüm bu kornalar
Cm Gm
Oysa kuşların onlara yukarıdan bırakılan sürprizleri var
Gm
Şehri bugün dinleseydi
Diyeceklerdi Orhan deli
Annemin o güzel yemekleri
Bir an unutturdu bana bu afeti
Gm
Yazın haberlerde yangınlar
Ormandan kaçıyor sincaplar
Duman gitti baktık binalar
Geçmiş olsun akciğerler, organlar
Gm
Su kurudu değirmen durdu
Saçlar ağardı ama un yoktu
Elmanın sahibi bizden önce kurttu
Doğa ana sopayla geliyor mu?
Gm
Yavuz ve Çetin bu oyuncak dünya
Modern zamanlarda Chaplin olsa
Fener’in stat ismi Lefter olsa
Erbane tulum bu kutlansa
Gm
Yatakta dönüyorum saat gibi
Adim
Sap olmak balta olmaktan iyi
Bb
Yoğurdu üfleyerek yerim ama
Cm D Gm
En sevdiğim şeydir aslında
End of song Play again?
Güney Marlen - Kaldırımları İşgal Eden Arabalar Tabs
NotesX
Harmony analysis
Güney Marlen – Kaldırımları İşgal Eden Arabalar: 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 15 times against 2 for Bb 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 | 2× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 4× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 4× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 15× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 15× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | 2× |
| III | Bb | Relative major — the bright side | Bb · D · F | 2× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 4× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 4× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 27 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 D is V/vi, a secondary dominant heading for Gm.
Chord movement
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×2
- Cm Gm Bbii → vi Gmiv → iminor plagal ×2
- Cm D Bbii → V/vi Gmiv → Viv → V ×2
The move to watch is D → Gm, heard 2 times. From the Gm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V/vi → 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When D 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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, Cm, D, Adim; read them as vi–ii–V/vi–vii° in Bb or i–iv–V–ii° in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → Gm (V/vi → vi in Bb, V → i in Gm): harmonic-minor cadence — the major V resolves dramatically. 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.
Güney Marlen - Kaldırımları İşgal Eden Arabalar 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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