Bülent Ortaçgil - Bu İş Çok Zor Yonca - Chord

Chord degrees: major and relative minor

Show the degrees above the chords — relative to C or to Am; 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.

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 17 different chords appear 89 times in total; 10 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 / E is V7/vi, a secondary dominant heading for Am. B7, D7, D act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

1. E7 → Am7 CV7/vi → vi7secondary resolution AmV7 → i7harmonic-minor cadence ×7
2. G → Am7 CV → vi7deceptive cadence AmVII → i7Aeolian arrival ×6
3. E7 → Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×4
4. E → Am CV/vi → vi AmV → iharmonic-minor cadence ×4
5. Dm7 → G6 Cii7 → V6ii → V Amiv7 → VII6 ×4
6. Bm7b5 → E7 Cviiø7 → V7/vi Amiiø7 → V7ii° → V ×4

The move to watch is E7 → Am7, heard 7 times. From the Am side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V7/vi → vi7 (secondary resolution: E7 resolves a fourth up to Am7). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Capo and easier keys

The song's harmonic story

The opening B7 lays a solid floor for everything that follows. Am7, E7, Am, C carry the song: vi7–V7/vi–vi–I relative to C, i7–V7–i–III relative to Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on E7 → Am7 (V7/vi → vi7 in C, V7 → i7 in Am): harmonic-minor cadence — the major V resolves dramatically. It closes on Am7, letting the Am 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.