Redd - Dünya - Chord

Key E major – C# minor Chords B, C#m, F#m, A Easy key G

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Capo 0

C#m
İstemiyor artık canım
                    B         F#m
Hiç üzülme umrumda değil hoşçakal derim
C#m
Benim için artık bitti
                     B         F#m
Geri dönmen umrumda değil hoşçakal derim    

F#m                    B               A         C#m
Hiç bu kadar acıtmadı hiç kimse senin kadar acıtmadı canımı
F#m                   B               A                C#m     B
Önce gözümü bağladın sonra zamanı yavaşlattın sonra durdurdun

   A     F#m     C#m   B     
Dünya yeniden dönüyor  

C#m
Telefonda ağlıyorsun
                      B        F#m
Gözyaşların umrumda değil hoşçakal derim
C#m
Yan birazcık anla canım,
                       B        F#m
Kül olsan da umrumda değil hoşçakal derim

End of song Play again?

Redd - Dünya Tabs

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Harmony analysis

Redd – Dünya: key and chord analysis

The song opens on C#m and ends on F#m. 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 opens on C#m and C#m is heard 7 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	—
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	7×
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	3×
V	B	Dominant — strongest pull home	B · D# · F#	8×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	7×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	7×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	—
iv	F#m	Subdominant — moves away from home	F# · A · C#	7×
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	3×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	8×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 25 times in total; 4 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#m C#m Eii → vi C#miv → iminor plagal ×3
F#m B Eii → Vii → V C#miv → VII ×2
A C#m EIV → vi C#mVI → iVI → i ×2
B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×1

The move to watch is F#m → C#m, heard 3 times. From the C#m side it is iv → i (minor plagal: deep and melancholic); from the E side it reads ii → vi. 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — 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

Starting on C#m, the song gives away its key from the very first bar. The chords that keep coming back are B, C#m, F#m, A; read them as V–vi–ii–IV in E or VII–i–iv–VI in C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F#m → C#m (ii → vi in E, iv → i in C#m): minor plagal — deep and melancholic. The final chord is F#m; the ear comes to rest in E.

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.