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)
Najwa Farouk - Waylo - Chord
Key G major – E minor Chords Em, C, D Difficulty already in its easiest key
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Key: G | Em
Capo: 0
C D Em Em
Em
Waylo, Waylo ya sawad laylo
D
Law maei yelab be thaylo
Waylo, Law tezough eiyouno mara
C Em
Aw ghalat ghalta segheira
Em
Waylo, Allah la yewareih nari
D
O keif ana majnoun gheira
Waylo! Tawa ma yedri eb junouni
C Em
Law tewaswes lo thunouno
C D Em
Waylo, Waylo ya sawad laylo
C D Em
Waylo, Law maei yelab be thaylo
Em
Waylo, Waylo ya sawad laylo
D
Law maei yelab be thaylo
Waylo, Law tezough eiyouno mara
C Em
Aw ghalat ghalta segheira
C D Em
Waylo, Waylo ya sawad laylo
C D Em
Waylo, Law maei yelab be thaylo
C D Em Em
Em
Waylo! Law alei galbi ghelabni
D
Aw hesab ena geharni
Waylo! Law ashufo le gheri yed’hak
C Em
Aw ahad al khadi baso
Em
Waylo! Law yezeid ettein balla
D
O yehreg aesabi yetesalla
Waylo! Huwa earef ena be eidi
C Em
Agleb eddenya ala raso
C D Em
Waylo, Waylo ya sawad laylo
C D Em
Waylo, Law maei yelab be thaylo
End of song Play again?
Najwa Farouk - Waylo Tabs
NotesX
Harmony analysis
Najwa Farouk – Waylo: key and chord analysis
The song opens on C and ends on Em. 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 E minor side because it comes to rest on Em and Em is heard 20 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 13× |
| V | D | Dominant — strongest pull home | D · F# · A | 13× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 20× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 20× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 13× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 13× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 3 different chords appear 46 times in total; 3 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
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×8
- C D GIV → VIV → V EmVI → VIIVI → VII ×8
- C Em GIV → vi EmVI → iVI → i ×5
The move to watch is D → Em, heard 8 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening C lays a solid floor for everything that follows. The chords that keep coming back are Em, C, D; read them as vi–IV–V in G or i–VI–VII in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. Ending on Em, the song seals Em 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.
Najwa Farouk - Waylo 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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