Madonna - Crazy for you - Chord

Key A major – F# minor Chords Esus2, Asus2, D6, Amaj9, Gbm, A/B, Badd4, Esus2/G# … Easy key C

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Capo 0

Esus2/G# 
                Dbm7
 Touch me once and you'll know it's true
D6              Amaj9
 I never wanted anyone like this
     Esus2                 Gbm
 It's all brand new, you'll feel it in my kiss
        C#m7         F#m7 5
 you'll feel it in my kiss
             E/B
 because I'm crazy for you,
Gbm/A     Ab           Dbm7/4
 Touch me once and you'll know it's true
D6              Amaj9
 I never wanted anyone like this
     Esus2                 Gbm
 It's all brand new, you'll feel it in my kiss
A/B           Esus2     Asus2
 I'm crazy for you,
 B        Esus2   Asus2  A/B
 crazy for you

Esus2           Asus2    Badd4
  It's all brand new, I'm crazy for you
Esus2              Asus2             Badd4
  And you know it's true,  I'm crazy, crazy for you

End of song Play again?

Madonna - Crazy for you Tabs

NotesX

Harmony analysis

Madonna – Crazy for you: key and chord analysis

The song opens on Esus2/G# and ends on Badd4. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A major side because A is heard 8 times against 2 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to A or to F#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 A major
Degree	Chord	Role	Notes	In song
Isus2	Asus2	Tonic — home	A · B · E	4×
Imaj7	Amaj9	Tonic — home	A · C# · E · G# · B	2×
I	A/B	Tonic — home	A · C# · E	2×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
V/V	Badd4	Secondary dominant V/V — leads to Esecondary dominant	B · D# · F# · E	2×
V/V	B	Secondary dominant V/V — leads to Esecondary dominant	B · D# · F#	1×
iii7	Dbm7	Mediant — a tonic-family shade	Db · Fb · Ab · Cb	1×
V/vi	C#	Secondary dominant V/vi — leads to Gbmsecondary dominant	C# · E# · G#	—
IV6	D6	Subdominant — moves away from home	D · F# · A · B	2×
Vsus2	Esus2	Dominant — strongest pull home	E · F# · B	6×
Vsus2	Esus2/G#	Dominant — strongest pull home	E · F# · B	1×
V	E/B	Dominant — strongest pull home	E · G# · B	1×
vi	Gbm	Relative minor — the melancholy side	Gb · A · Db	2×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	Gbm	Tonic — home	Gb · A · Db	2×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
IIIsus2	Asus2	Relative major — the bright side	A · B · E	4×
IIImaj7	Amaj9	Relative major — the bright side	A · C# · E · G# · B	2×
III	A/B	Relative major — the bright side	A · C# · E	2×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
IV	Badd4	Major IV — Dorian / melodic-minor colourmodal colour	B · D# · F# · E	2×
IV	B	Major IV — Dorian / melodic-minor colourmodal colour	B · D# · F#	1×
v7	Dbm7	Minor dominant — soft pull	Db · Fb · Ab · Cb	1×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI6	D6	Submediant — warm colour	D · F# · A · B	2×
VIIsus2	Esus2	Subtonic — steps back to the tonic	E · F# · B	6×
VIIsus2	Esus2/G#	Subtonic — steps back to the tonic	E · F# · B	1×
VII	E/B	Subtonic — steps back to the tonic	E · G# · B	1×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 11 different chords appear 24 times in total; 9 of them sit naturally inside the shared scale. Badd4, B act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

D6 Amaj9 AIV6 → Imaj7plagal cadence F#mVI6 → IIImaj7 ×2
Esus2 Gbm AVsus2 → vi F#mVIIsus2 → iAeolian arrival ×2

The move to watch is D6 → Amaj9, heard 2 times. From the A side it reads IV6 → Imaj7 (plagal cadence: the soft 'amen' ending); from the F#m side it is VI6 → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over Esus2, land on E, F#, B — the chord's own tones always sound right on strong beats.
Over Asus2, land on A, B, E — the chord's own tones always sound right on strong beats.
Over D6, land on D, F#, A — 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is Esus2/G#; the ear learns where home is within a second. The backbone is Esus2, Asus2, D6, Amaj9 — Vsus2–Isus2–IV6–Imaj7 from the A side, VIIsus2–IIIsus2–VI6–IIImaj7 from the F#m side. Badd4 adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on D6 → Amaj9 (IV6 → Imaj7 in A, VI6 → IIImaj7 in F#m): plagal cadence — the soft 'amen' ending. The final chord is Badd4; the ear comes to rest in A.

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.