Redd - Bugün Herkes Ölsün İstedim - Chord

Key Ab major – F minor Chords Fm, Db, Bbm, Ebm, F Easy key G (capo 1)

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Capo 0

Fm
Bugün herkes ölsün istedim çünkü seni çok özledim

Bugün şehir yok olsun istedim çünkü seni çok özledim
Db                                 Fm
Böyle bir günde seni sevmiştim ama bitti

Fm
Bugün hayat dursun istedim çünkü seni bitiremedim
Db                                 Fm
Böyle bir günde seni sevmiştim ama bitti

Bbm                                    Fm
Duyuyor musun, dinliyor musun bir şey söyle
Bbm                                Fm
Duyuyor musun, anlıyor musun hadi söyle

Ebm                   F    Bbm
Sen kalbimi durdurdun dünya dönmesin dursun

Fm
Gökyüzü buruşup yırtılsın istedim çünkü seni çok özledim
Db                                  Fm
Böyle bir günde seni sevmiştim ama bitti

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Redd - Bugün Herkes Ölsün İstedim Tabs

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Harmony analysis

Redd – Bugün Herkes Ölsün İstedim: key and chord analysis

The song opens on Fm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

Major view

Ab major

Brightness rank 2/7 (bright)

Characteristic notes

7 = G (leading tone, pulls home)
4 = Db (the note that leans on the 3rd)

Minor view

F minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Db (the minor's melancholy)
b7 = Eb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F minor side because it both starts and finishes on Fm and Fm is heard 8 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	3×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	3×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
v	Ebm	Chromatic colour chordoutside the key	Eb · Gb · Bb	1×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	8×
V/ii	F	Secondary dominant V/ii — leads to Bbmsecondary dominant	F · A · C	1×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	8×
V/iv	F	Secondary dominant V/iv — leads to Bbmsecondary dominant	F · A · C	1×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	3×
v	Cm	Minor dominant — soft pull	C · Eb · G	—
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	3×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	—
vii	Ebm	Chromatic colour chordoutside the key	Eb · Gb · Bb	1×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 16 times in total; 3 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Bbm Fm Abii → vi Fmiv → iminor plagal ×3
Db Fm AbIV → vi FmVI → iVI → i ×3

The move to watch is Bbm → Fm, heard 3 times. From the Fm side it is iv → i (minor plagal: deep and melancholic); from the Ab side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — 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 Ab major shapes

Capo 1 + G shapes
Capo 4 + E shapes
Capo 6 + D shapes

With F minor shapes

Capo 1 + Em shapes
Capo 3 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The first chord is Fm; the ear learns where home is within a second. The backbone is Fm, Db, Bbm, Ebm — vi–IV–ii–v from the Ab side, i–VI–iv–vii from the Fm side. F adds a moment of surprise: secondary dominant V/ii — leads to Bbm. Keep an ear on Bbm → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. The final chord is Fm; the ear comes to rest in Fm.

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.