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)
Ayfer Vardar - Candan İleri - Chord
Key G major – E minor Chords Cmaj7, Bm, D, G, Am, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Cmaj7 Bm Am Bm G Bizim pencereler yele karşıdır Bm Cmaj7 D Bm Muhabbet dediğin karşı karşıdır G Cmaj7 D Girer isen bu sinemde neler var Cmaj7 D Gülüp oynadığım ele karşıdır Cmaj7 Am Bm Karşıdır, ele karşıdır G Sabahın seheri günden ileri Bm C D Bm Ben kimi sevmişim senden ileri G Cmaj7 D Ziyaret olmuşsun kurban istersin Cmaj7 D Kurban bulamadım candan ileri Cmaj7 Am Bm İleri, candan ileri
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Ayfer Vardar - Candan İleri Tabs
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Harmony analysis
Ayfer Vardar – Candan İleri: key and chord analysis
The song opens on Cmaj7 and ends on Bm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G major side because G is heard 4 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
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 | 4× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 3× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 8× |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 8× |
| IV | C | Subdominant — moves away from home | C · E · G | 1× |
| V | D | Dominant — strongest pull home | D · F# · A | 6× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 4× |
| iv | Am | Subdominant — moves away from home | A · C · E | 3× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 8× |
| 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 | 8× |
| VI | C | Submediant — warm colour | C · E · G | 1× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 6× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 30 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
- Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×5
- C D GIV → VIV → V EmVI → VIIVI → VII ×1
The move to watch is Cmaj7 → D, heard 5 times. From the G side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Em side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). 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 Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — 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. Cmaj7, Bm, D, G carry the song: IVmaj7–iii–V–I relative to G, VImaj7–v–VII–III relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → D (IVmaj7 → V in G, VImaj7 → VII in Em): IV → V — the lift that builds tension before home. The final chord is Bm; 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.
Ayfer Vardar - Candan İleri 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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Lyrics: KaracoğlanMusic: Haydar Kutluer
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