Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Ayça Özefe - Yıldızlar - Chord
Key G major – E minor Chords Em, C, Bm, Am, D, G Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em Bm C C
Em Bm C
Gökyüzünde ne çok yıldız var
Em Bm C Am Em
Biri parlak biri ürkek biri yalnız diğeri sanki burda
Em Bm C
İçimizde ne çok hırsız var
Em Bm C Am Em
Biri aldı beni götürdü sonra sattı hem de yok pahasına
G D Em D
Ah şu hırsızlar
Em Bm C Am Em
Her gece rüyamda senin kılığında dolaşırlar
G D Em D
Ah karanlıklar
Em Bm C Am Em
Seni benden seni dünden seni gerçeklerden korurlar
Em Bm C
Gökyüzünde ne çok yıldız var
Em Bm C Am Em
Biri parlak biri ürkek biri yalnız diğeri sanki burda
Em Bm C
İçimizde ne çok hırsız var
Em Bm C Am Em
Biri aldı beni götürdü sonra sattı hem de yok pahasına
G D Em D
Ah şu hırsızlar
Em Bm C Am Em
Her gece rüyamda senin kılığında dolaşırlar
G D Em D
Ah karanlıklar
Em Bm C Am Em
Seni benden seni dünden seni gerçeklerden korurlar
End of song Play again?
Ayça Özefe - Yıldızlar Tabs
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Harmony analysis
Ayça Özefe – Yıldızlar: key and chord analysis
The song opens on Em and ends on Em. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because it both starts and finishes on Em and Em is heard 25 times against 4 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | 4× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 8× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 13× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 14× |
| V | D | Dominant — strongest pull home | D · F# · A | 8× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 25× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 25× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 4× |
| iv | Am | Subdominant — moves away from home | A · C · E | 8× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 13× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 14× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 8× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 72 times in total; 6 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
- Am Em Gii → vi Emiv → iminor plagal ×8
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×8
- C Em GIV → vi EmVI → iVI → i ×5
The move to watch is Am → Em, heard 8 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. Em, C, Bm, Am carry the song: vi–IV–iii–ii relative to G, i–VI–v–iv relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. Ending on Em, the song seals Em 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.
Ayça Özefe - Yıldızlar 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: Sinan KaynakçıMusic: Sinan Kaynakçı
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