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ZAZ - Que vendra - Chord

Key D major – B minor Chords Bm, F#7, Em, D, A, G Easy key C (capo 2)

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Bm  Em  F#7  Bm

Bm
Peu importe où je vais
                   Em
Tant que j’ai l’audace
                      F#7
De tenir la main de l’autre
                        Bm
Pour aimer le temps qui passe

Bm
Dans tout ce que je fais
                         Em
La rage et l’amour s’embrassent
                                    F#7
Qu’elle soit mienne ou qu’elle soit votre
               Bm
La vie nous dépasse

Bm               Em
Qué vendrá qué vendrá
      F#7        Bm
Yo escribo mi camino
                  Em
Sin pensar sin pensar
F#7        Bm
Dónde acabará

Bm
Dans mes joies, dans mes peines, dans mes choix, dans mes larmes
                    Em
Je laisse aller mes sentiments
                             F#7
Au mieux on écrit son chemin comme on se soigne
                Bm
Pour aimer indifféremment

Bm
Sur les sables mouvants d’un passé qui s’effondre
                  Em
Je me raccroche à ceux que j’aime
                       F#7
Prenant soin de chaque seconde
                                  Bm
Les heures prendront soin d’elles-mêmes

Bm               Em
Qué vendrá qué vendrá
      F#7        Bm
Yo escribo mi camino
                  Em
Sin pensar sin pensar
F#7        Bm
Dónde acabará
Bm               Em
Qué vendrá qué vendrá
      F#7        Bm
Yo escribo mi camino
                                  Em
Si me pierdo es que ya me he encontrado
         F#7         Bm
Y sé que debo continuar

Bm  Em  F#7  Bm  Em  F#7  Bm

D                                 A
 Puisque nous sommes ici sans savoir
                                Bm
Ce qui nous attend un peu plus tard
                                  F#7
Laisser parler mon instinct me guérit
G                                 Em
 Puisque tout cela est bien trop court
                               Bm
J’aimerai jusqu’à mon dernier jour
                               F#7
Jusqu’à mon dernier souffle de vie
Bm               Em
Qué vendrá qué vendrá
      F#7                 Bm
Jusqu’où j’irai j’en sais rien
                   Em
Sin pensar sin pensar
     F#7          Bm
Sans penser à demain

Bm               Em
Qué vendrá qué vendrá
      F#7        Bm
Yo escribo mi camino
                                  Em
Si me pierdo es que ya me he encontrado
         F#7         Bm
Y sé que debo continuar

Bm  Em  F#7  Bm

Bm               Em
Qué vendrá qué vendrá
      F#7        Bm
Yo escribo mi camino
                                  Em
Si me pierdo es que ya me he encontrado
         F#7         Bm
Y sé que debo continuar
 
Bm Em F#7
 
Bm                               Em
Si me pierdo es que ya me he encontrado
         F#7         Bm
Y sé que debo continuar

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ZAZ - Que vendra Tabs

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Harmony analysis

ZAZ – Que vendra: key and chord analysis

The song opens on Bm and ends on Bm. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

  • 7 = C# (leading tone, pulls home)
  • 4 = G (the note that leans on the 3rd)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

  • b6 = G (the minor's melancholy)
  • b7 = A (natural-minor colour)
  • #7 = A# (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 B minor side because it both starts and finishes on Bm, Bm is heard 38 times against 1 for D and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 D major
Degree Chord Role Notes In song
I D Tonic — home D · F# · A 1×
ii Em Supertonic — prepares the dominant E · G · B 23×
iii F#m Mediant — a tonic-family shade F# · A · C# —
V7/vi F#7 Secondary dominant V/vi — leads to Bmsecondary dominant F# · A# · C# · E 24×
IV G Subdominant — moves away from home G · B · D 1×
V A Dominant — strongest pull home A · C# · E 1×
vi Bm Relative minor — the melancholy side B · D · F# 38×
vii° C#dim Leading-tone chord — tension C# · E · G —
Seen from B minor
Degree Chord Role Notes In song
i Bm Tonic — home B · D · F# 38×
ii° C#dim Supertonic — prepares the dominant C# · E · G —
III D Relative major — the bright side D · F# · A 1×
iv Em Subdominant — moves away from home E · G · B 23×
v F#m Minor dominant — soft pull F# · A · C# —
V7 F#7 Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor F# · A# · C# · E 24×
VI G Submediant — warm colour G · B · D 1×
VII A Subtonic — steps back to the tonic A · C# · E 1×

Analysis

The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 88 times in total; 5 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm.

Chord movement

  1. F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×23
  2. Em F#7 Dii → V7/vi Bmiv → V7iv → V ×22
  3. A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1
  4. Em Bm Dii → vi Bmiv → iminor plagal ×1

The move to watch is F#7 → Bm, heard 23 times. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to Bm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

  • D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
  • Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
  • Over F#7, land on F#, A#, C# — 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.
  • When F#7 comes, swap the scale's A for A#: 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 D major shapes

    • No capo — open D shapes
    • Capo 2 + C shapes
    • Capo 5 + A shapes

    With B minor shapes

    • Capo 2 + Am shapes
    • Capo 7 + Em shapes

    Easiest keys on guitar

    • 2 semitones down · capo 2 keeps the original pitch
    • 5 semitones up · capo 7 keeps the original pitch

    The song's harmonic story

    The opening Bm lays a solid floor for everything that follows. The chords that keep coming back are Bm, F#7, Em, D; read them as vi–V7/vi–ii–I in D or i–V7–iv–III in Bm. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. Ending on Bm, the song seals Bm as home.

    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.

    ZAZ - Que vendra 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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