Madrigal - Aynadaki Görüntün - Chord

Key B major – G# minor Chords Emaj7, C#maj7, F#, G#, G#m, Eb7, Em Easy key G (capo 4)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

C#maj7  G#  Emaj7  F#

C#maj7         G#                     Emaj7
Aynadaki görüntün, pek parlak değil bugün
      F#
Başarılar sana
C#maj7    G#
Bu hissizler ordusunda
     Emaj7                 F#
Ne dediğini bilmez insanlarla

C#maj7        G#                    Emaj7
Duygusuz uyandın, derin bir nefes aldın
     F#            C#maj7
Nasılsa her gün aynı
         G#           Emaj7
Aynı kişiler, aynı yerler
  F#              G#m
Zaten hepsine alıştın

       Eb7       Emaj7                F#
Bir yerlerde, senin gibi birileri olmalı
G#m      Eb7     Emaj7       Em         C#maj7
 Başka türlü yaşanmaz durulmaaz bu dünyada
 
C#maj7  G#  Emaj7  F#

C#maj7           G#                   Emaj7
O gelenler bir zaman, çıktılar hayatından
   F#                      C#maj7
Kendi gibi birilerini buldular
              G#                   Emaj7
Unut onları artık, durursan sana yazık
   F#              G#m
Bazen evladır karanlık

       Eb7       Emaj7                F#
Bir yerlerde, senin gibi birileri olmalı
G#m      Eb7     Emaj7       Em         C#maj7
 Başka türlü yaşanmaz durulmaaz bu dünyada

End of song Play again?

Madrigal - Aynadaki Görüntün Tabs

NotesX

Harmony analysis

Madrigal – Aynadaki Görüntün: key and chord analysis

The song opens on C#maj7 and ends on C#maj7. Its chords belong to both B major and G#m, so every chord below is read both ways.

Major view

B major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A# (leading tone, pulls home)
4 = E (the note that leans on the 3rd)

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = E (the minor's melancholy)
b7 = F# (natural-minor colour)
#7 = G (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G# minor side because G#m is heard 4 times while B never appears and the major V chord points straight at G#m. That is an interpretation, not a rule — the same chords are just as valid seen from B 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 B or to G#m; 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 B major
Degree	Chord	Role	Notes	In song
I	B	Tonic — home	B · D# · F#	—
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	—
V/V	C#maj7	Secondary dominant V/V — leads to F#secondary dominant	C# · E# · G# · B#	10×
iii	D#m	Mediant — a tonic-family shade	D# · F# · A#	—
V7/vi	Eb7	Secondary dominant V/vi — leads to G#msecondary dominant	Eb · G · Bb · Db	4×
IVmaj7	Emaj7	Subdominant — moves away from home	E · G# · B · D#	12×
iv	Em	Minor iv — borrowed from the parallel minorborrowed chord	E · G · B	2×
V	F#	Dominant — strongest pull home	F# · A# · C#	10×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	4×
V/ii	G#	Secondary dominant V/ii — leads to C#msecondary dominant	G# · B# · D#	8×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	G#m	Tonic — home	G# · B · D#	4×
V/iv	G#	Secondary dominant V/iv — leads to C#msecondary dominant	G# · B# · D#	8×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B	Relative major — the bright side	B · D# · F#	—
iv	C#m	Subdominant — moves away from home	C# · E · G#	—
IVmaj7	C#maj7	Major IV — Dorian / melodic-minor colourmodal colour	C# · E# · G# · B#	10×
v	D#m	Minor dominant — soft pull	D# · F# · A#	—
V7	Eb7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Eb · G · Bb · Db	4×
VImaj7	Emaj7	Submediant — warm colour	E · G# · B · D#	12×
vi	Em	Chromatic colour chordoutside the key	E · G · B	2×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	10×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 7 different chords appear 50 times in total; 3 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same Eb7 is V7/vi, a secondary dominant heading for G#m. C#maj7, G# act as secondary dominants, briefly pointing at another chord of the key. Em is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Emaj7 F# BIVmaj7 → VIV → V G#mVImaj7 → VIIVI → VII ×10
F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×4

The move to watch is Emaj7 → F#, heard 10 times. From the G#m side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the B side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
Over Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over C#maj7, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
When Eb7 comes, swap the scale's F# for G: that single note is the harmonic-minor sound of the chord.
On Em, follow the chord's notes (E · G · B) rather than the key's scale — it's a borrowed colour.

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 B major shapes

Capo 2 + A shapes
Capo 4 + G shapes
Capo 7 + E shapes

With G# minor shapes

Capo 4 + Em shapes
Capo 6 + Dm shapes

Easiest keys on guitar

4 semitones down · capo 4 keeps the original pitch
1 semitone up

The song's harmonic story

The first chord is C#maj7; the ear learns where home is within a second. The backbone is Emaj7, C#maj7, F#, G# — IVmaj7–V/V–V–V/ii from the B side, VImaj7–IVmaj7–VII–V/iv from the G#m side. G# is the interesting twist: in B it is a chromatic chord (V/ii), while in G#m it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on Emaj7 → F# (IVmaj7 → V in B, VImaj7 → VII in G#m): VI → VII — the rising step that heads for the tonic. It closes on C#maj7, letting the B 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.