Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Evrencan Gündüz - La La La - Chord
Key G major – E minor Chords Bm7, Em, Cmaj7, Am, D, G, Bm, B Easy key C (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Cmaj7 Bm7 Em Am Bm7 Cmaj7 Bm7 Em
La La La
Cmaj7 Bm7 Em Am Bm
Neden diye sormuştun, mantıktan hep yoksundun
Cmaj7 Bm7 Em
Bir gün yine gittiğinde söyle
Cmaj7 Bm7 Em Am Bm
Döndüğünde ben olmayacağım ama anıları saklayacağım
Cmaj7 Bm Em
Bir gün veririm belki sana
Cmaj7 Bm7 Em Am Bm7
Kaybettiklerini anlarsın, üzülüp ağlarsın
Cmaj7 Bm7 Em
Bir gün tutarım yine elinden
Cmaj7 Bm7 Em Am Bm7
Lütfen yine ağlama, beni yine ağlatma
Cmaj7 Bm7 Em
Sadece mutlu ol bu evrende
Cmaj7 Bm7 Em Am Bm7 Cmaj7 Bm7 Em
La La La
Am D Am D
Of çok kötüyüm ya da değilim
Am D Am D B
Ne oldu bana, aşık mıyım, neyim, evet öyleyim
Em G
Pişman olacağımı bilsem, yine yaparım elbette
D Am
Keşke deyip ölmekten güzel
Em G
Ne kaldıysa atacağım, adam gibi ağlayacağım
D Am
Buydu yapamadığımız zaten
Cmaj7 Bm7 Em Am Bm7
Ne kaldıysa atacağım, adam gibi ağlayacağım
Cmaj7 Bm7 Em
Keşke deyip ölmekten güzel
Cmaj7 Bm7 Em Am Bm7
Ne kaldıysa atacağım, adam gibi ağlayacağım
Cmaj7 Bm7 Em
Keşke deyip ölmekten güzel
Cmaj7 Bm7 Em Am Bm7 Cmaj7 Bm7 Em
La La La
Em G
Pişman olacağımı bilsem, yine yaparım elbette
D Am
Keşke deyip ölmekten güzel
Em G
Ne kaldıysa atacağım, adam gibi ağlayacağım
D Am
Buydu yapamadığımız zaten
Em G
Pişman olacağımı bilsem, yine yaparım elbette
D Am
Keşke deyip ölmekten güzel
End of song Play again?
Evrencan Gündüz - La La La Tabs
NotesX
Harmony analysis
Evrencan Gündüz – La La La: key and chord analysis
The song opens on Cmaj7 and ends on Am. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
- #7 = D# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because Em is heard 23 times against 5 for G and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | 5× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 18× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 24× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 3× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 1× |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 18× |
| V | D | Dominant — strongest pull home | D · F# · A | 9× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 23× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 23× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 5× |
| iv | Am | Subdominant — moves away from home | A · C · E | 18× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 24× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 3× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 1× |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 18× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 9× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 101 times in total; 7 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B is V/vi, a secondary dominant heading for Em.
Chord movement
- Bm7 Em Giii7 → vi Emv7 → inatural-minor cadence ×17
- Am D Gii → Vii → V Emiv → VII ×4
- Am Em Gii → vi Emiv → iminor plagal ×3
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×1
- Bm Em Giii → vi Emv → inatural-minor cadence ×1
The move to watch is Bm7 → Em, heard 17 times. From the Em side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Cmaj7, the song gives away its key from the very first bar. The backbone is Bm7, Em, Cmaj7, Am — iii7–vi–IVmaj7–ii from the G side, v7–i–VImaj7–iv from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bm7 → Em (iii7 → vi in G, v7 → i in Em): natural-minor cadence — gentle, modal arrival. The final chord is Am; the ear comes to rest in G.
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.
Evrencan Gündüz - La La La 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.