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)
Ozan Doğulu - Vazgeçtim (Ece Seçkin) - Chord
Key Eb major – C minor Chords Gm, Fm, Ab, Bb, Eb, Cm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Gm Fm
Gm Fm Gm
Her gün biraz daha aşkı yitiriyor
Ab Fm Gm
Yüzündeki gökkuşağının ağrılı rengi
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
Fm Gm Ab Gm
Vaz geç tim direnişim
Fm Bb Eb
Seni sevmeyi ağır ödüyorum
Fm Gm Ab Gm
Vaz geç tim yana yana
Fm Bb Eb
Seni sevmeyi ağır ödüyorum
Fm Gm Ab Gm
Vaz geç tim yana yana
Fm Bb Eb
Seni sevmeyi ağır ödüyorum
Fm Gm Ab
Vaz geç yüreğimden düşlerimden
Gm Fm
Yaralıyım bin yerimdem, ben değilim seviştiğin
Affedemem beni affet
Eb
Gidiyorum uzaklara, sensizliğe
Fm Gm Ab Gm
Kah ret sin yapamıyorum
Fm Bb Eb
Kaçtıkça sana geri dönüyorum
Fm Gm Ab Gm
Kah ret sin yapamıyorum
Fm Bb Eb
Kaçtıkça sana geri dönüyorum
End of song Play again?
Ozan Doğulu - Vazgeçtim (Ece Seçkin) Tabs
NotesX
Harmony analysis
Ozan Doğulu – Vazgeçtim (Ece Seçkin): 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.
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 7 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 7× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 17× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 18× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 8× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 8× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 2× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| 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 | 7× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 17× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 18× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 8× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 8× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 60 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
- Bb Eb EbV → Iauthentic cadence CmVII → III ×6
- Fm Bb Ebii → Vii → V Cmiv → VII ×6
- Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×1
The move to watch is Bb → Eb, heard 6 times. From the Eb side it reads V → I (authentic cadence: the strongest arrival home); from the Cm side it is VII → III. 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 Ab, land on Ab, C, Eb — 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
The first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, Fm, Ab, Bb; read them as iii–ii–IV–V in Eb or v–iv–VI–VII in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. 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.
Ozan Doğulu - Vazgeçtim (Ece Seçkin) 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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