Hande Yener - Ego - Madrigal - Chord

Key E major – C# minor Chords F#m7, C#m7 Easy key G

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Capo 0

F#m7  F#m7  C#m7  C#m7
x4

F#m7             C#m7                F#m7
Kayboldum sonunda akıp gider eşsiz ruhum
                C#m7
Ellerinin arasından (arasından)
F#m7             C#m7                  F#m7
Savruldum yolunda nerde kimle hiç takmadan
                    C#m7
Farklı farklı kollarda

F#m7             C#m7  F#m7                C#m7
 Aklında kalanlarla,    vazgeçmek kolay mıydı? 

F#m7          C#m7
Ego dört yanımdan saldırıyor
F#m7            C#m7
Ego bizi kandırıyor
                 F#m7                  C#m7
Sen hissetmesen de yalan dolan yakar beni
     F#m7                       C#m7
Yapışır kokun tadın tuzun ve derin

F#m7  F#m7  C#m7  C#m7

F#m7              C#m7                F#m7
Kırıklar etrafında bir olmaz eskisi gibi
                  C#m7
Bak hepsi paramparça (paramparça)
F#m7                C#m7                  F#m7
İçim dışım bir olmuş sanki tutmuşum nefesimi
                      C#m7
Hiçbir yolun ardı yok, boşa kısılmış sesim

F#m7          C#m7
Ego dört yanımdan saldırıyor
F#m7            C#m7
Ego bizi kandırıyor
                 F#m7                  C#m7
Sen hissetmesen de yalan dolan yakar beni
     F#m7                       C#m7
Yapışır kokun tadın tuzun ve derin

End of song Play again?

Hande Yener - Ego - Madrigal Tabs

NotesX

Harmony analysis

Hande Yener – Ego - Madrigal: key and chord analysis

The song opens on F#m7 and ends on C#m7. Its chords belong to both E major and C#m, so every chord below is read both ways.

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C# minor side because it comes to rest on C#m and C#m is heard 22 times while E never appears. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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 E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	—
ii7	F#m7	Supertonic — prepares the dominant	F# · A · C# · E	22×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	—
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	—
IV	A	Subdominant — moves away from home	A · C# · E	—
V	B	Dominant — strongest pull home	B · D# · F#	—
vi7	C#m7	Relative minor — the melancholy side	C# · E · G# · B	22×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i7	C#m7	Tonic — home	C# · E · G# · B	22×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	—
iv7	F#m7	Subdominant — moves away from home	F# · A · C# · E	22×
v	G#m	Minor dominant — soft pull	G# · B · D#	—
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	—
VI	A	Submediant — warm colour	A · C# · E	—
VII	B	Subtonic — steps back to the tonic	B · D# · F#	—

Analysis

The key pair is E major and its relative C# minor (4 sharps). 2 different chords appear 44 times in total; 2 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

F#m7 C#m7 Eii7 → vi7 C#miv7 → i7minor plagal ×20

The move to watch is F#m7 → C#m7, heard 20 times. From the C#m side it is iv7 → i7 (minor plagal: deep and melancholic); from the E side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over C#m7, land on C#, E, G# — 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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

3 semitones up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The opening F#m7 lays a solid floor for everything that follows. The backbone is F#m7, C#m7 — ii7–vi7 from the E side, iv7–i7 from the C#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m7 → C#m7 (ii7 → vi7 in E, iv7 → i7 in C#m): minor plagal — deep and melancholic. Ending on C#m7, the song seals C#m 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.