Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Başar Keklik - Yere Düştüm - Chord
Key D major – B minor Chords Bm, G, A, Em, C, D, F#m, F#7 Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm Bm G A Bm
x2
Bm F#m
Bugün nasıl mıyım? Bıraktığın gibi bi' yarımım
G
Ben bu sevdanın karşı sokağıyım
F#7 Bm
Evim sen görmez üstelik, ben bilemiyorum
G A
Seni bitiremiyordum, bu akıldan akıl aldın, yazık
Bm
Bilemiyordum, her sokak sen, her duvarda bir yazı
A
Vuramazdı, acıtamazdı senden bir başkası
G
Ben bilemiyorum, aaahh
G A
Canını acıtamıyor mu? Şu canımdan bi' can aldın, yazık
Bm
Kaçıyordum sokağından, sopalardan, ah, nasıl
A
Vuruyorsun, acıtıyorsun, nasıl bi' kavgasın
G A Bm
Ben bilemiyorum, ah, been ölüyorum
Bm G
Yere düştüm, yok mu kaldıraan?
A Bm
Dokunmayın bana, ben yerleri öptüm, aman
G
Ne günahımı gördün, ulan?
A Bm
Ben içimdeki sana söz verdim ama
Bm G
Yerleri öptüm, dudaklarımda kaan
A Bm
Dokunmayın, 'Hoşçakal'ların belimi büktü ama
Ne günahımı gördün, ulan?
A
Ben içimdeki sana
G Em C D Em Em C D Em
End of song Play again?
Başar Keklik - Yere Düştüm Tabs
NotesX
Harmony analysis
Başar Keklik – Yere Düştüm: key and chord analysis
The song opens on Bm and ends on Em. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
- #7 = A# (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 B minor side because it opens on Bm, Bm is heard 13 times against 2 for D and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | 2× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 4× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 1× |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 1× |
| IV | G | Subdominant — moves away from home | G · B · D | 10× |
| V | A | Dominant — strongest pull home | A · C# · E | 10× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 13× |
| bVII | C | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | C · E · G | 2× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 13× |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 2× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 2× |
| iv | Em | Subdominant — moves away from home | E · G · B | 4× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 1× |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 1× |
| VI | G | Submediant — warm colour | G · B · D | 10× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 10× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 43 times in total; 6 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm. C is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×7
- G A DIV → VIV → V BmVI → VIIVI → VII ×7
- C D DbVII → IbVII → I BmbII → III ×2
- F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×1
The move to watch is A → Bm, heard 7 times. From the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the D side it reads V → vi (deceptive cadence: expected D, lands on Bm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- When F#7 comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
- On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.
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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. Bm, G, A, Em carry the song: vi–IV–V–ii relative to D, i–VI–VII–iv relative to Bm. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. Ending on Em, the song seals D 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.
Başar Keklik - Yere Düştüm 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: Başar KeklikMusic: Başar Keklik
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