Yıldız Tilbe - Vazgeçtim - Chord

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

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Capo 0

Gm     Fm

Gm           Fm               Gm
Her gün biraz daha aşkı yitiriyor 
                Fm              Gm
Yüzündeki gökkuşağının ağrılı rengi 
Gm           Fm             Gm   
Sabahlara yakın sessiz gelişlerin 
               Cm         Bb
Hırsız gibi kararsız, kararlı 
        Cm                   Bb
Yatağımdasın kırk yıllık yabancı 

    Ab         Gm
Vazgeçti direnişim
      Fm      Bb      Eb 
Seni sevmeyi ağır ödüyorum 
   Gm   Ab     Gm
Vazgeçtim direnişim
      Fm      Bb    Eb  
Seni sevmeyi ağır ödüyorum 


    Ab        Gm
Vazgeçtim yana yana
      Fm     Bb       Eb 
Seni sevmeyi ağır ödüyorum 
   Gm   Ab     Gm
Vazgeçtim yana yana
       Fm     Bb    Eb  
Seni sevmeyi ağır ödüyorum 

Fm    Bb    Ab
Vazgeç yüreğimden düşlerimden 
         Gm
Yaralıyım bin yerimdem, ben değilim seviştiğin 
Fm              
Affedemem beni affet 
            Eb
Gidiyorum uzaklara, sensizliğe 

       Ab          Gm
Kahretsin yapamıyorum 
      Fm       Bb       Eb
Kaçtıkça sana geri dönüyorum 
Fm  Gm  Ab          Gm
Kahretsin yapamıyorum 
      Fm       Bb       Eb
Kaçtıkça sana geri dönüyorum
Fm  Gm  Ab       Gm
Kahretsin yapamıyorum 
      Fm      Bb        Eb
Seni sevmeyi ağır ödüyorum
Fm   Gm  Ab        Fm    Bb      Eb
Kahretsin, seni sevmeyi ağır ödüyorum

End of song Play again?

Yıldız Tilbe - Vazgeçtim Tabs

NotesX

Harmony analysis

Yıldız Tilbe – Vazgeçtim: key and chord analysis

The song opens on Gm and ends on Eb. 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 Eb major side because it comes to rest on Eb and Eb is heard 9 times against 2 for Cm. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

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	9×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	17×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	19×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	9×
V	Bb	Dominant — strongest pull home	Bb · D · F	11×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	2×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	2×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	9×
iv	Fm	Subdominant — moves away from home	F · Ab · C	17×
v	Gm	Minor dominant — soft pull	G · Bb · D	19×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	9×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	11×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 67 times in total; 6 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

Fm Bb Ebii → Vii → V Cmiv → VII ×9
Bb Eb EbV → Iauthentic cadence CmVII → III ×8
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1

The move to watch is Fm → Bb, heard 9 times. From the Eb side it reads ii → V (ii → V: the classic preparation of the dominant); from the Cm side it is iv → VII. 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 Fm, land on F, Ab, C — 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.

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

Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, Fm, Bb, Ab; read them as iii–ii–V–IV in Eb or v–iv–VII–VI in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bb (ii → V in Eb, iv → VII in Cm): ii → V — the classic preparation of the dominant. It closes on Eb, letting the Eb side have the last word.

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.