Teoman - Çoban Yıldızı - Chord

Key Bb major – G minor Chords Eb, Cm, Gm, Bb, D, F Easy key G (capo 3)

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Capo 0

Gm                     Cm   
Yüzme bilmeden daha deniz görmeden
Eb               D  Bb
Hiç güneşte yanmadan
Cm                  Eb              F
Şimdi ölmek istemem bir kalbi sarmadan

Gm                 Cm  
Aşkı tatmadan daha onla sarhoş olmadan
Eb               D  Bb
Hiç sevişmeden daha
Cm                   Eb           F
Şimdi ölmek istemem daha hiç gülmeden
            Gm   Eb   Bb
Çoban yıldızı  

Eb               Cm      Eb
Sen benle kal la la la la
         Gm
Çoban yıldızı

Gm    Eb    Bb

Eb             Cm        Eb
Hep benle kal la la la la
          Gm
Zamanın varsa  

Gm                      Cm   
Ben hiç kimsem olmadan tepeden tırnağa
Eb             D  Bb
Ona hiç sarılmadan
Cm                    Eb         F
Şimdi ölmek istemem kalbine dokunmadan

Gm                         Cm
Hadi al götür beni hala benimmişler gibi
Eb        D  Bb
Evime yurduma
Cm                  Eb         F
Taze meyve tatları yağmurlarında
            Gm    Eb    Bb
Çoban yıldızı

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Harmony analysis

Teoman – Çoban Yıldızı: key and chord analysis

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

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)

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 comes to rest on Bb, it opens on Gm, Gm is heard 9 times against 7 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	7×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	10×
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	15×
V	F	Dominant — strongest pull home	F · A · C	4×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	9×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	9×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	7×
iv	Cm	Subdominant — moves away from home	C · Eb · G	10×
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	15×
VII	F	Subtonic — steps back to the tonic	F · A · C	4×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 49 times in total; 5 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

F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×4
Eb Bb BbIV → Iplagal cadence GmVI → III ×3
Eb Gm BbIV → vi GmVI → iVI → i ×2

The move to watch is F → Gm, heard 4 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). 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 Eb, land on Eb, G, Bb — 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 Gm, land on G, Bb, D — 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

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 Eb, Cm, Gm, Bb — IV–ii–vi–I from the Bb side, VI–iv–i–III from the Gm side. 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 F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. Ending on Bb, the song seals Bb 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.