Can Ozan - Üzdünüz Beni - Chord

Key Eb major – C minor Chords Ebmaj7, Bb7, Ab, Fm7, Cm7, Abm Easy key D (capo 1)

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Capo 0

Ebmaj7  Bb7  Cm7  Ab  Abm

Ebmaj7                    Bb7
Üzdünüz beni çok üzdünüz ama
Ebmaj7                       Bb7
Sorduğum kadar cevabım yok daha
                             Ebmaj7
Tatmadım ama bir son var galiba
Bb7                        Ebmaj7
Korktuğum kadar sevmedim daha

Fm7                            Ab
Durduğum yer belki evimden uzakmış
                                      Ebmaj7
Delinin biri her gün kuyuma bin taş atmış
                                 Bb7
Çarşaflar yepyeni ve renkli olsa da
                                 Ebmaj7
Duyduğum masallar beni hiç uyutmamış

Ab                           Ebmaj7
Gülümser yüzüm pes etmedim baba
Ab                           Ebmaj7
Yalnız ölmiycem umudum var hala
Bb7                          Ebmaj7
Tatmadım ama bir son var galiba
Bb7                        Ebmaj7
Korktuğum kadar sevmedim daha

Fm7                               Ab
Duyulur muydu ordan sesim cılız olsa
                                   Ebmaj7
Utanır mıydım yoksa aklım çıplak olsa
                                 Bb7
Yansın tüm ışıklar görsünler halimi
                                      Ebmaj7
Sevemem hiç kimseyi yaşamazsam hiç beni

Fm7                               Ab
Duyulur muydu ordan sesim cılız olsa
                                   Ebmaj7
Utanır mıydım yoksa bedenim çıplak olsa
                                Bb7
Dağılsın bulutlar görsünler halimi
                                    Ebmaj7
Sevemem hiç kimseyi sevemezsem kendimi

Bb7                          Ebmaj7
Tatmadım ama bir son var galiba
Bb7                        Ebmaj7
Korktuğum kadar sevmedim daha

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Harmony analysis

Can Ozan – Üzdünüz Beni: key and chord analysis

The song opens on Ebmaj7 and ends on Ebmaj7. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb major side because it both starts and finishes on Eb and Eb is heard 17 times against 1 for Cm. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
Imaj7	Ebmaj7	Tonic — home	Eb · G · Bb · D	17×
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	3×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	6×
iv	Abm	Minor iv — borrowed from the parallel minorborrowed chord	Ab · Cb · Eb	1×
V7	Bb7	Dominant — strongest pull home	Bb · D · F · Ab	11×
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	1×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i7	Cm7	Tonic — home	C · Eb · G · Bb	1×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
IIImaj7	Ebmaj7	Relative major — the bright side	Eb · G · Bb · D	17×
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	3×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	6×
vi	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	1×
VII7	Bb7	Subtonic — steps back to the tonic	Bb · D · F · Ab	11×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 39 times in total; 5 of them sit naturally inside the shared scale. Abm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bb7 Ebmaj7 EbV7 → Imaj7authentic cadence CmVII7 → IIImaj7 ×10
Ab Ebmaj7 EbIV → Imaj7plagal cadence CmVI → IIImaj7 ×5
Bb7 Cm7 EbV7 → vi7deceptive cadence CmVII7 → i7Aeolian arrival ×1
Abm Ebmaj7 Ebiv → Imaj7minor plagal Cmvi → IIImaj7 ×1

The move to watch is Bb7 → Ebmaj7, heard 10 times. From the Eb side it reads V7 → Imaj7 (authentic cadence: the strongest arrival home); from the Cm side it is VII7 → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Bb7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
On Abm, follow the chord's notes (Ab · Cb · Eb) 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

The opening Ebmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Ebmaj7, Bb7, Ab, Fm7; read them as Imaj7–V7–IV–ii7 in Eb or IIImaj7–VII7–VI–iv7 in Cm. Abm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Bb7 → Ebmaj7 (V7 → Imaj7 in Eb, VII7 → IIImaj7 in Cm): authentic cadence — the strongest arrival home. The final chord is Ebmaj7; the ear comes to rest in Eb.

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.