Model - Levla Vazgeçti - Chord

Key Bb major – G minor Chords Dm, Gm, C Easy key C

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Capo 0

Dm                     Gm
Gülmüyor yüzün, böyle değildin
Dm                     Gm
Başın öne düşmüş, kime eğildin
                    Dm
Hangi savaşta kime yenildin
Gm                C             Dm
Sen ki neler gördün, nelere direndin

Dm                         Gm
Saçların yanmış, ateş mi biçtin
Dm                            Gm
Yüzün rengin solmuş, zehir mi içtin
                             Dm
Taşları günahtan yollar, mı geçtin
Gm                  C       Dm
Belki de böyle olmayı sen seçtin

Dm                     Gm
Levla gözünde yaşlarla vazgeçti
Dm                     Gm
Levla gözünde yaşlarla vazgeçti
Dm                    Gm
Levla sil yaşını bunlar da geçti
             C      Dm
Gülümse biraz bahar geldi

Dm                       Gm
Çıkmıyor sesin, sözün mü bitti
Dm                       Gm
Sustu bülbüller, mevsim değişti
                       Dm
Küstah baharlar güze dönüştü
Gm         C              Dm
Örtün üstünü, gün ışığı söndü

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Model - Levla Vazgeçti Tabs

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Harmony analysis

Model – Levla Vazgeçti: key and chord analysis

The song opens on Dm and ends on Dm. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because Gm is heard 12 times while Bb never appears. 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	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
II	C	Chromatic colour chordoutside the key	C · E · G	4×
iii	Dm	Mediant — a tonic-family shade	D · F · A	16×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	12×
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	12×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
IV	C	Major IV — Dorian / melodic-minor colourmodal colour	C · E · G	4×
v	Dm	Minor dominant — soft pull	D · F · A	16×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	—

Analysis

The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 32 times in total; 2 of them sit naturally inside the shared scale. C step outside the scale as colour chords.

Chord movement

Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×12

The move to watch is Dm → Gm, heard 12 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. 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 Dm, land on D, F, A — 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.
Over C, land on C, E, G — 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 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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, Gm, C; read them as iii–vi–II in Bb or v–i–IV in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Dm; the ear comes to rest in Bb.

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.