Sezen Aksu - Üşüdüm - Chord

Key G major – E minor Chords Em7, Bm7, Am7, Cmaj7, D, B7, D7, Gmaj7 … Easy key C (capo 7)

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Capo 0

Em7   Bm7   Cmaj7  Em7    Bm7    Am7  Em7
Gel yaralarımı     sar, yetiş çok sancım var
Em7  Bm7     Cmaj7  Em7     Bm7  Am7  Em7
Tut  elimi şifanı ver, bu gece bende kal

Bm7         Cmaj7   Am7        D
Tut bir ucundan kederimin telaşsız
Cmaj7             B7
Sus, her söz anlamsız
          Em7  Bm7     Em7
Bir şefkatli dokunuş yeter

   Cmaj7   Bm7     Am7   Em7
Üşüdüm, üşüdüm, üşüdüüüüüüüm, gel
    Bm7     Am7      Em7
Havalar çok sert buralarda
   Cmaj7   Bm7     Am7   Em7
Üşüdüm, üşüdüm, üşüdüüüüm, gel
   Bm7      Am7     Em7
Azıcık ısınayım aralarda

Em7      Am7        D7           Gmaj7      Cmaj7
Baharıma kış geldi aniden, yeşeremedim bu sene
        D       C        Bm7          Am7  Bm7  Em7
Geceler yastığımda karabasan, beceremedim   desene

Em7  Bm7    Cmaj7  Em7   Bm7  Am7  Em7
Gel  dualarımııııı al, tutunduğum son dal
Em7  Bm7   Cmaj7  Em7   Bm7     Am7     Em7
Bir  nefesin kâfiiii, budur, hepsi bu kadar

Bm7         Cmaj7   Am7        D
Tut bir ucundan kederimin telaşsız
Cmaj7             B7
Sus, her söz anlamsız
          Em7  Bm7     Em7
Bir şefkatli dokunuş yeter

   Cmaj7   Bm7     Am7   Em7
Üşüdüm, üşüdüm, üşüdüüüüüüüm, gel
    Bm7     Am7      Em7
Havalar çok sert buralarda
   Cmaj7   Bm7     Am7   Em7
Üşüdüm, üşüdüm, üşüdüüüüm, gel
   Bm7      Am7     Em7
Azıcık ısınayım aralarda

Em7      Am7        D7           Gmaj7      Cmaj7
Baharıma kış geldi aniden, yeşeremedim bu sene
        D       C        Bm7          Am7  Bm7  Em7
Geceler yastığımda karabasan, beceremedim   desene

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Sezen Aksu - Üşüdüm Tabs

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Harmony analysis

Sezen Aksu – Üşüdüm: key and chord analysis

The song opens on Em7 and ends on Em7. Its chords belong to both G major and Em, so every chord below is read both ways.

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)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)
#7 = D# (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 E minor side because it both starts and finishes on Em, Em is heard 28 times against 2 for G and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 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.

Seen from G major
Degree	Chord	Role	Notes	In song
Imaj7	Gmaj7	Tonic — home	G · B · D · F#	2×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	18×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	24×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	2×
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	14×
IV	C	Subdominant — moves away from home	C · E · G	2×
V	D	Dominant — strongest pull home	D · F# · A	4×
V7	D7	Dominant — strongest pull home	D · F# · A · C	2×
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	28×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	28×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
IIImaj7	Gmaj7	Relative major — the bright side	G · B · D · F#	2×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	18×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	24×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	2×
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	14×
VI	C	Submediant — warm colour	C · E · G	2×
VII	D	Subtonic — steps back to the tonic	D · F# · A	4×
VII7	D7	Subtonic — steps back to the tonic	D · F# · A · C	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 9 different chords appear 96 times in total; 8 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em.

Chord movement

Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×12
Cmaj7 Em7 GIVmaj7 → vi7 EmVImaj7 → i7VI → i ×4
Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×4
B7 Em7 GV7/vi → vi7secondary resolution EmV7 → i7harmonic-minor cadence ×2
D7 Gmaj7 GV7 → Imaj7authentic cadence EmVII7 → IIImaj7 ×2
Am7 D Gii7 → Vii → V Emiv7 → VII ×2

The move to watch is Am7 → Em7, heard 12 times. From the Em side it is iv7 → i7 (minor plagal: deep and melancholic); from the G side it reads ii7 → vi7. 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
When B7 comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.

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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The first chord is Em7; the ear learns where home is within a second. Em7, Bm7, Am7, Cmaj7 carry the song: vi7–iii7–ii7–IVmaj7 relative to G, i7–v7–iv7–VImaj7 relative to Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am7 → Em7 (ii7 → vi7 in G, iv7 → i7 in Em): minor plagal — deep and melancholic. It closes on Em7, letting the Em 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.