Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Yıldızlardan Düştük - Bitmiş ve Gitmiş - Chord
Key Ab major – F minor Chords Fm, Dbmaj7, Ab, Cm Easy key C
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Key: Ab | Fm
Capo: 0
Fm Dbmaj7 Bu seninle kurduğum kaçıncı senaryo Ab Kaldırmıyor artık kafam Fm Dbmaj7 Kenarda bir yerde öldüysem bilin ki Ab Katilim hala içimde Fm Dbmaj7 Yürüyen bir zombiyim duygular derinde Ab Günyüzü görmeleri muhtemelen mucize Fm Dbmaj7 Belki de çok erkendi gitmek için sahiden Ab Kapıları kapattım inan Fm Dbmaj7 Peki neden aşıksın hala bitmiş ve gitmişken Ab Peki neden hala aklında yorgun ve dargınken Fm Dbmaj7 Ab Beni de inandır bu yalana lütfen Fm Dbmaj7 Ab Aklımdan geçenleri söylesem ne farkeder Fm Cm Dbmaj7 Cm Kalbimden gidenleri toplasam bir ben eder Fm Dbmaj7 Şimdi söyle bana neden bu yalnızlık Ab Var mı özel bir nedeni Fm Dbmaj7 Diretme arkadaş kabullen artık aş Ab Tutabilen var mı gideni
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Harmony analysis
Yıldızlardan Düştük – Bitmiş ve Gitmiş: key and chord analysis
The song opens on Fm and ends on Ab. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Ab major and F minor because it comes to rest on Ab, it opens on Fm and Fm is heard 10 times against 9 for Ab. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | 9× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 2× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 10× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 10× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 10× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 9× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 2× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 10× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 31 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
- Dbmaj7 Ab AbIVmaj7 → Iplagal cadence FmVImaj7 → III ×9
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1
The move to watch is Dbmaj7 → Ab, heard 9 times. From the Ab side it reads IVmaj7 → I (plagal cadence: the soft 'amen' ending); from the Fm side it is VImaj7 → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Dbmaj7, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Fm lays a solid floor for everything that follows. The backbone is Fm, Dbmaj7, Ab, Cm — vi–IVmaj7–I–iii from the Ab side, i–VImaj7–III–v from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dbmaj7 → Ab (IVmaj7 → I in Ab, VImaj7 → III in Fm): plagal cadence — the soft 'amen' ending. Ending on Ab, the song seals Ab 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.
Yıldızlardan Düştük - Bitmiş ve Gitmiş 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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