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)
Juan Karlos Labajo - Buwan - Chord
Key G major – E minor Chords G, C, D, Em, D7, G7, Am, Em7 … Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Am Em Em
Am Em Am
Am C
C D
Ako'y sayo, ikaw ay akin
G
Ganda mo sa paningin
G7 G C D7
Ako ngayo'y nag iisa
G G7
Sana ay tabihan na
C D7
Sa ilalim ng puting ilaw
G
Sa dilaw na bwan
C D
Pakinggan mo ang aking sigaw
G
Sa dilaw na buwan
D C D
Ayaw kong mabuhay ng may lungkot
G
Ikaw ang nag papasaya
G7 C D
At makakasama hanggang sa pag tanda
G
Hali na tayo'y humiga
C D7
Sa ilalim ng puting ilaw
G
Sa dilaw na bwan
C D
Pakinggan mo ang aking sigaw
G
Sa dilaw na buwan
G C D G Em7 Em C D G
C D7 G Em7 G7
At iyong ganda'y, umaabot sa buwan
C D G Em
Ang tibok ng puso'y, tinig sa kalawakan
G C D D7 G Em D
At kung mabalik, dito sa akin, ikaw ang mahal, ikaw lang ang mamahalin
C D
Pakinggan ang puso't damdamin
G
Damdamin aking damdamin
C D7
Sa ilalim ng puting ilaw
G
Sa dilaw na bwan
Em G C D
Pakinggan mo ang aking sigaw
G
Sa dilaw na buwan
C D
Ta Taaaa
C D
Sa ilalim ng puting ilaw
G
Sa dilaw na buwan
Am7
Laaaaaha
Em C Cmaj7 C D
Pakinggan mo ang aking sigaw
G
Sa dilaw na buwan
Em7 G7 Cmaj7 D7 G Em
Laha wooo, la la la la la la la la la la
G C D
Pakinggan mo pakinggan pakinggan mo aking sinta
End of song Play again?
Juan Karlos Labajo - Buwan Tabs
NotesX
Harmony analysis
Juan Karlos Labajo – Buwan: key and chord analysis
The song opens on Am and ends on D. 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 29 times against 12 for Em. 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 | 24× |
| V7/IV | G7 | Secondary dominant V/IV — leads to Csecondary dominant | G · B · D · F | 5× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 4× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 1× |
| 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 | 22× |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 2× |
| V | D | Dominant — strongest pull home | D · F# · A | 17× |
| V7 | D7 | Dominant — strongest pull home | D · F# · A · C | 7× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 9× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 3× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 9× |
| i7 | Em7 | Tonic — home | E · G · B · D | 3× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 24× |
| V7/VI | G7 | Secondary dominant V/VI — leads to Csecondary dominant | G · B · D · F | 5× |
| iv | Am | Subdominant — moves away from home | A · C · E | 4× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 1× |
| 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 | 22× |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 2× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 17× |
| VII7 | D7 | Subtonic — steps back to the tonic | D · F# · A · C | 7× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 10 different chords appear 94 times in total; 9 of them sit naturally inside the shared scale. G7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C D GIV → VIV → V EmVI → VIIVI → VII ×15
- D G GV → Iauthentic cadence EmVII → III ×12
- D7 G GV7 → Iauthentic cadence EmVII7 → III ×7
- C D7 GIV → V7IV → V EmVI → VII7VI → VII ×5
- G7 C GV7/IV → IVsecondary resolution EmV7/VI → VI ×3
- Am Em Gii → vi Emiv → iminor plagal ×2
The move to watch is C → D, heard 15 times. From the G side it reads IV → V (IV → V: the lift that builds tension before home); from the Em side it is VI → 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 G, land on G, B, D — 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
Starting on Am, the song gives away its key from the very first bar. G, C, D, Em carry the song: I–IV–V–vi relative to G, III–VI–VII–i relative to Em. G7 adds a moment of surprise: secondary dominant V/IV — leads to C. Keep an ear on C → D (IV → V in G, VI → VII in Em): IV → V — the lift that builds tension before home. The final chord is D; 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.
Juan Karlos Labajo - Buwan 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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