Sezen Aksu - Vazgeçtim - Chord

Key Eb major – C minor Chords Gm, Cm, Bb, Fm, Ab, B, Eb, D Easy key C (capo 3)

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Capo 0

Cm  Gm  Cm  Ab      Bb
Vaz geç tim gözlerinden
   Cm  Bb  Gm
Vazgeç tim sözlerinden
Fm  B  Bb   Gm
Bir ah de yeter

Cm  Gm  Cm  Ab   Bb
Ses sizce   kimsesizce
   Cm  Bb  Gm
Gönder dim dudaklarımı
Fm  B  Bb   Gm
Öp  me al yeter
 
Eb      Fm    Bb    Gm
Hiç tanımaz tenim ellerini
   Cm      Fm     Gm      Cm
Bilmez yüreğim bilmez yüreğini
Eb      Fm    Bb       Gm
Ah bu koku bu ten bu dokunuş
   Cm     Fm     Gm        Ab
Ah bu delilik sarsar bedenimi
Fm  Eb  D   Cm  B  Bb  Ab  Gm
Yok ol  mak a   nı dır şim di

End of song Play again?

Sezen Aksu - Vazgeçtim Tabs

NotesX

Harmony analysis

Sezen Aksu – Vazgeçtim: key and chord analysis

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

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 10 times against 3 for Eb. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	3×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	7×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	11×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	4×
V	Bb	Dominant — strongest pull home	Bb · D · F	9×
bVI	B	Borrowed from the parallel minorborrowed chord	B · D# · F#	3×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	10×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	1×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	10×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	1×
III	Eb	Relative major — the bright side	Eb · G · Bb	3×
iv	Fm	Subdominant — moves away from home	F · Ab · C	7×
v	Gm	Minor dominant — soft pull	G · Bb · D	11×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	4×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	9×
#VII	B	Chromatic colour chordoutside the key	B · D# · F#	3×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 48 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key. B is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×6
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×2
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×2
Fm Bb Ebii → Vii → V Cmiv → VII ×2

The move to watch is Gm → Cm, heard 6 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Gm, land on G, Bb, D — 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
On B, follow the chord's notes (B · D# · F#) 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. Gm, Cm, Bb, Fm carry the song: iii–vi–V–ii relative to Eb, v–i–VII–iv relative to Cm. D adds a moment of surprise: secondary dominant V/iii — leads to Gm. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. The final chord is Gm; the ear comes to rest in Eb.

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.