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)
Yıldızlardan Düştük - Geyikli Gece - Chord
Key Bb major – G minor Chords Gm, F, Ebmaj7, Cm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm F Ebmaj7
Koyamadım seni el yerine
Gm F
Bi gece olsun yine düş tenime
Ebmaj7
Kapanır kapılar bu geyikli gecede
Gm F Ebmaj7 Gm
Ne kalır elimde, ne kalır elimdeee
Gm
İnce belinden sarılır aniden
F
Düşerim boşluğa önümü görmeden
Ebmaj7
Sebebi saçların güneşi resmeden
Yolunu bulabilirim belki bitmeden
Gm
Bu da bir kördüğüm, çözmek istemem
F
Bence suçlusun, böyle güzelken
Ebmaj7
Aklı dilinde koca bir deliysen
Yine de severdim seni bak harbiden
Gm
Sesini duymadan bi günü geçiremem
F
Bu da benim suçum sonunu bilmeden
Ebmaj7
Yaşıyorum seni, bir şiir önceden
Buralı değilsin belli yüzünden
Gm
Sanki bir melek, fani bir beden
F Gm
Yüzünü sakla çabuk Tanrı görmeden
Gm F Cm Gm F Cm
Ebmaj7
Aklımda bir sorusun hala
Gm F
Ve bir cevabı yok bir çare yok
Ebmaj7 Gm F
İzninle geçiyorum şu an geyikli geceyeee
Ebmaj7
Koyamadım seni el yerine
Gm F
Bi gece olsun yine düş tenime
Ebmaj7
Kapanır kapılar bu geyikli gecede
Gm F Ebmaj7 Gm
Ne kalır elimde, ne kalır elimdeee
End of song Play again?
Yıldızlardan Düştük - Geyikli Gece Tabs
NotesX
Harmony analysis
Yıldızlardan Düştük – Geyikli Gece: 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)
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 and Gm is heard 16 times while Bb never appears. 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 2× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 11× |
| V | F | Dominant — strongest pull home | F · A · C | 13× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 2× |
| 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 | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 11× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 13× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 42 times in total; 4 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
- Ebmaj7 Gm BbIVmaj7 → vi GmVImaj7 → iVI → i ×11
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1
- Cm Gm Bbii → vi Gmiv → iminor plagal ×1
The move to watch is Ebmaj7 → Gm, heard 11 times. From the Gm side it is VImaj7 → i (VI → i: falls a half step into home); from the Bb side it reads IVmaj7 → 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Ebmaj7, land on Eb, G, Bb — 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 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. The backbone is Gm, F, Ebmaj7, Cm — vi–V–IVmaj7–ii from the Bb side, i–VII–VImaj7–iv from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → Gm (IVmaj7 → vi in Bb, VImaj7 → i in Gm): VI → i — falls a half step into home. The final chord is Gm; the ear comes to rest in Gm.
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.
Yıldızlardan Düştük - Geyikli Gece 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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