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)
Avicii - Addicted To You - Chord
Key E major – C# minor Chords C#m, Amaj7, C#m/B, F#sus2, G# Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
C#m
C#m C#m/B
I don't know just how it happened
F#sus2 Amaj7
I let down my guard
C#m C#m/B F#sus2 Amaj7
Swore I'd never fall in love again but I fell hard
C#m C#m/B
Guess I should have seen it coming
F#sus2 Amaj7
Caught me by surprise
C#m C#m/B F#sus2 Amaj7
I wasn't looking where I was going and I fell into your eyes
G# C#m C#m/B F#sus2
You came into my crazy world like a cool and cleansing grace
Amaj7
Before I, I knew what hit me baby
G#
You were flowing through my vains
C#m
I'm addicted to you
C#m/B
Hooked on your love
F#sus2
Like a powerful drug
Amaj7
I can't get enough of
C#m C#m/B
Lost in your eyes
F#sus2
Drowning in blue
Amaj7
Out of control what can I do
Amaj7 C#m
I'm addicted to you
C#m C#m/B
Midnight blows in through the window
F#sus2 Amaj7
Dances round the room
C#m C#m/B F#sus2 Amaj7
Got me hypnotized I'm getting high on the perfume
G# C#m C#m/B F#sus2
I couldn't live without you now, oh I know I'd go insane
Amaj7
I wouldn't last one night alone baby
G#
I couldn't stand the pain
C#m
I'm addicted to you
C#m/B
Hooked on your love
F#sus2
Like a powerful drug
Amaj7
I can't get enough of
C#m
Lost in your eyes
C#m/B
Drowning in blue
F#sus2 Amaj7
Out of control what can I do
C#m
I'm addicted to you
End of song Play again?
Avicii - Addicted To You Tabs
NotesX
Harmony analysis
Avicii – Addicted To You: key and chord analysis
The song opens on C#m and ends on C#m. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
- #7 = B# (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 C# minor side because it both starts and finishes on C#m, C#m is heard 27 times while E never appears and the major V chord points straight at C#m. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | E | Tonic — home | E · G# · B | — |
| IIsus2 | F#sus2 | Supertonic — prepares the dominant | F# · G# · C# | 12× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| 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# | 4× |
| IVmaj7 | Amaj7 | Subdominant — moves away from home | A · C# · E · G# | 13× |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 15× |
| vi | C#m/B | Relative minor — the melancholy side | C# · E · G# | 12× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 15× |
| i | C#m/B | Tonic — home | C# · E · G# | 12× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | — |
| IVsus2 | F#sus2 | Subdominant — moves away from home | F# · G# · C# | 12× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| 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# | 4× |
| VImaj7 | Amaj7 | Submediant — warm colour | A · C# · E · G# | 13× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | — |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 56 times in total; 4 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G# is V/vi, a secondary dominant heading for C#m.
Chord movement
- Amaj7 C#m EIVmaj7 → vi C#mVImaj7 → iVI → i ×8
- G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×4
The move to watch is Amaj7 → C#m, heard 8 times. From the C#m side it is VImaj7 → i (VI → i: falls a half step into home); from the E side it reads IVmaj7 → 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 C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over C#m/B, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- When G# comes, swap the scale's B for B#: 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 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
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening C#m lays a solid floor for everything that follows. C#m, Amaj7, C#m/B, F#sus2 carry the song: vi–IVmaj7–vi–IIsus2 relative to E, i–VImaj7–i–IVsus2 relative to C#m. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Amaj7 → C#m (IVmaj7 → vi in E, VImaj7 → i in C#m): VI → i — falls a half step into home. It closes on C#m, letting the C#m 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.
Avicii - Addicted To You Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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