İrem Derici - Durum Çok Acil - Chord

Key G major – E minor Chords Bm7, Am7, Cmaj7, Em7 Easy key C (capo 7)

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Capo 0

Cmaj7  Bm7  Cmaj7  Bm7

Am7                  Bm7
Ne zaman görsem seni, elim ayağıma dolanır
Am7                 Bm7
Aklım fikrim firari, uğruna bi' ömür harcanır
Am7                          Bm7
Senden kullandım ben hepsini, bitti hayattaki tüm şansım
Am7                              Bm7 
Yok bi' saniye seni düşünmediğim, rüyalarımda da sen varsın

Am7                              Bm7 
Yaktım! Senin için için gemileri yaktım
                   Am7
Ben uğruna neler atlattım
                  Bm7
Yok mu o kadarcık hakkım?
Am7                          Bm7
Taktım! Kafayı sana bi' kere taktım
                    Am7
Gururu bi' kenara bıraktım
                Bm7
Durum çok acil, yardım, yardım
x2

Cmaj7  Bm7  Am7  Bm7
x2

Em7                   Bm7
Rüzgarında savruldum, yollarında kavruldum
Am7                   Bm7
Döndü gitti mahvoldum ben
Am7
Yanmadım mı? Sönmedim mi?
Cmaj7
Kollarında ölmedim mi?
Bm7    Am7       Bm7
Uğruna her şeyim feda!

Am7                              Bm7 
Yaktım! Senin için için gemileri yaktım
                   Am7
Ben uğruna neler atlattım
                  Bm7
Yok mu o kadarcık hakkım?
Am7                          Bm7
Taktım! Kafayı sana bi' kere taktım
                    Am7
Gururu bi' kenara bıraktım
                Bm7
Durum çok acil, yardım, yardım
x2

End of song Play again?

İrem Derici - Durum Çok Acil Tabs

NotesX

Harmony analysis

İrem Derici – Durum Çok Acil: key and chord analysis

The song opens on Cmaj7 and ends on Bm7. Its chords belong to both G major and Em, so every chord below is read both ways.

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)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because Em is heard 1 times while G never appears. 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	16×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	20×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	4×
V	D	Dominant — strongest pull home	D · F# · A	—
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	1×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	1×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv7	Am7	Subdominant — moves away from home	A · C · E · G	16×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	20×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	4×
VII	D	Subtonic — steps back to the tonic	D · F# · A	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 41 times in total; 4 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

Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×1

The move to watch is Bm7 → Em7, heard once. From the Em side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the G side it reads iii7 → vi7. 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 Am7, land on A, C, E — 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.

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. Bm7, Am7, Cmaj7, Em7 carry the song: iii7–ii7–IVmaj7–vi7 relative to G, v7–iv7–VImaj7–i7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → Em7 (iii7 → vi7 in G, v7 → i7 in Em): natural-minor cadence — gentle, modal arrival. Ending on Bm7, the song seals G 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.