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)
Resul Dindar - Çift Jandarma - Chord
Key G major – E minor Chords Em, D, Am, A, G Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Am Em D Em A Am Em D Em Em G Çift jandarma geliyor da Em D Kaymakam konağından Am Em Fiske vursam kan damlar da D Em A Kırmızı yanağından Am Em Fiske vursam kan damlar da D Em Kırmızı yanağından Am Em Haydi hanım haydi canım D Em A Şinanay şirin yarim Am Em Haydi hanım haydi balım D Em Şinanay aslan yarim Am Em D Em A Am Em D Em Em G Dağlarda kar sesi var da Em D Tarlada zar sesi var Am Em Kurban olam Artvin'e da D Em A İçinde yar sesi var Am Em Kurban olam Şavşat'a da D Em İçinde yar sesi var Am Em Haydi hanım haydi canım D Em A Şinanay şirin yarim Am Em Haydi hanım haydi balım D Em Şinanay aslan yarim Am Em D Em A Am Em D Em Em G Zeytin yaprağı yeşil lo Em D Dibinde kayve pişir Am Em Benden sana yar olmaz lo D Em A Aklını başa devşir Am Em Benden sana yar olmaz lo D Em Aklını başa devşir Am Em Haydi hanım haydi canım D Em A Şinanay şirin yarim Am Em Haydi hanım haydi balım D Em Şinanay aslan yarim
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Resul Dindar - Çift Jandarma Tabs
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Harmony analysis
Resul Dindar – Çift Jandarma: key and chord analysis
The song opens on Am 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 42 times against 3 for G. 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 | 3× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 18× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 9× |
| 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 | — |
| V | D | Dominant — strongest pull home | D · F# · A | 21× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 42× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 42× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 3× |
| iv | Am | Subdominant — moves away from home | A · C · E | 18× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 9× |
| 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 | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 21× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 93 times in total; 4 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Am Em Gii → vi Emiv → iminor plagal ×18
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×18
The move to watch is Am → Em, heard 18 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → 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 Em, land on E, G, B — 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.
- Over Am, land on A, C, E — 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 first chord is Am; the ear learns where home is within a second. The backbone is Em, D, Am, A — vi–V–ii–V/V from the G side, i–VII–iv–IV from the Em side. A adds a moment of surprise: secondary dominant V/V — leads to D. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. It closes on Em, letting the Em side have the last word.
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.
Resul Dindar - Çift Jandarma 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: AnonimMusic: Anonim
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