Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
İlyas Yalçıntaş - Lavinia - Chord
Key Db major – Bb minor Chords Fm, Gb, Ebm, Bbm, C, Ab Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm Ebm Fm
Sana gitme demiyeceğim
Gb Ebm Fm
Ama gitme Lavinya
Bbm Gb Fm
Yalanlar istiyorsan, yalanlar söyleyeyim
Gb Fm
İncinirsin, yine de sen bilirsin
Ebm Gb Fm
Sana gitme demiyeceğim
Gb Ebm Fm
Ama gitme Lavinya
C Ab
Üşüyorsun ceketimi al
Ebm Fm
Günün en güzel saatleri bunlar
Ebm Bbm
Lavinya yanımda kal, yanımda kal
Fm Ebm Gb
Sana gitme demiyeceğim
Ebm Fm
Ama gitme Lavinya
Gb
Adını gizleyeceğim
Bbm Gb Fm
Sende bilme, bilme Lavinya
Bbm Gb Fm
Yalanlar istiyorsan, yalanlar söyleyeyim
Gb Fm
İncinirsin, yine de sen bilirsin
End of song Play again?
İlyas Yalçıntaş - Lavinia Tabs
NotesX
Harmony analysis
İlyas Yalçıntaş – Lavinia: key and chord analysis
The song opens on Fm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 4 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 8× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 13× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 10× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 1× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 4× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| V/iii | C | Secondary dominant V/iii — leads to Fmsecondary dominant | C · E · G | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 4× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| V/v | C | Secondary dominant V/v — leads to Fmsecondary dominant | C · E · G | 1× |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 8× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 13× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 10× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 1× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 37 times in total; 5 of them sit naturally inside the shared scale. C acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×2
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×1
- Gb Bbm DbIV → vi BbmVI → iVI → i ×1
The move to watch is Fm → Bbm, heard 2 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Fm lays a solid floor for everything that follows. The chords that keep coming back are Fm, Gb, Ebm, Bbm; read them as iii–IV–ii–vi in Db or v–VI–iv–i in Bbm. C adds a moment of surprise: secondary dominant V/iii — leads to Fm. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. The final chord is Fm; the ear comes to rest in Db.
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.
İlyas Yalçıntaş - Lavinia 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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