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)
Tina Turner - Addicted To Love - Chord
Key E major – C# minor Chords B7, A7, E7, E, Abm Easy key D (capo 2)
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Key: E | Dbm | C#m
Capo: 0
B7 A7 B7 B7 A7 E7 B7
B7
The lights are on but you're not home
A7
Your mind is not your own
E7
Your body sweats, your body shakes
B7
Another kiss is what it takes
B7
You can't eat, you can't sleep
A7
There's no doubt you're in deep
E7
Your throat is tight, you can't breathe
B7
Another kiss is all you need
Abm E B7
You like to think that you're immune to the stuff, oh yeah
Abm E
It's closer to the truth, you know
E
You're gonna have to face it
E
You might as well face it, you're addicted to love
B7
You see the signs but you can't read
A7
You're running at a different speed
E7
Your heart beats at double time
B7
Another kiss and you'll be mine
B7
One track mind, you can't be saved
A7
Another young love is all you crave
E7
And if the sun left you
B7
You don't mind if you do
Abm E B7
You like to think that you're immune to the stuff oh yeah
Abm E
It's closer to the truth, you see
E
You're gonna have to face it
E
You're gonna have to face that you're addicted to love
B7
You might as well face it, you're addicted to love
A7
You might as well face it, you're addicted to love
E7
You might as well face it, you're addicted to love
B7
You might as well face it, you're addicted to love
B7
You might as well face it, (sax fill)
A7
You might as well face it,(sax fill)
E7
You might as well face it, (sax fill)
B7
You might as well face it,you're addicted to love
B7 A7 E7 B7
B7
The lights are on but you're not home
A7
Your mind is not your own
E7
Your body sweats, your body shakes
B7
Another kiss is what it takes
B7
You can't eat, you can't sleep
A7
There's no doubt you're in deep
E7
Your throat is tight, you can't breathe
B7
Another kiss is all you need
Abm E B7
You like to think that you're immune to the stuff oh yeah
Abm E
It's closer to the truth, you see
E
You're gonna have to face it
E
You're gonna have to face that you're addicted to love
B7
You might as well face it, you're addicted to love
A7
You might as well face it, you're addicted to love
E7
You might as well face it, you're addicted to love
B7
You might as well face it, you're addicted to love
B7
You might as well face it, (sax fill)
A7
You might as well face it,(sax fill)
E7
You might as well face it, (sax fill)
B7
You might as well face it,you're addicted to love
B7 A7 E7 B7
End of song Play again?
Tina Turner - Addicted To Love Tabs
NotesX
Harmony analysis
Tina Turner – Addicted To Love: key and chord analysis
The song opens on B7 and ends on B7. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E major side because E is heard 25 times while C#m never appears. 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 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 | 12× |
| V7/IV | E7 | Secondary dominant V/IV — leads to Asecondary dominant | E · G# · B · D | 13× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| iii | Abm | Mediant — a tonic-family shade | Ab · Cb · Eb | 6× |
| III | G# | Chromatic colour chordoutside the key | G# · B# · D# | — |
| IV7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 14× |
| V7 | B7 | Dominant — strongest pull home | B · D# · F# · A | 31× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 12× |
| V7/VI | E7 | Secondary dominant V/VI — leads to Asecondary dominant | E · G# · B · D | 13× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| v | Abm | Minor dominant — soft pull | Ab · Cb · Eb | 6× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 14× |
| VII7 | B7 | Subtonic — steps back to the tonic | B · D# · F# · A | 31× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 76 times in total; 3 of them sit naturally inside the shared scale. E7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A7 E7 EIV7 → V7/IVplagal cadence C#mVI7 → V7/VI ×13
- A7 B7 EIV7 → V7IV → V C#mVI7 → VII7VI → VII ×1
The move to watch is A7 → E7, heard 13 times. From the E side it reads IV7 → V7/IV (plagal cadence: the soft 'amen' ending); from the C#m side it is VI7 → V7/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 B7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over E7, land on E, G#, B — 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 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening B7 lays a solid floor for everything that follows. The backbone is B7, A7, E7, E — V7–IV7–V7/IV–I from the E side, VII7–VI7–V7/VI–III from the C#m side. E7 adds a moment of surprise: secondary dominant V/IV — leads to A. Keep an ear on A7 → E7 (IV7 → V7/IV in E, VI7 → V7/VI in C#m): plagal cadence — the soft 'amen' ending. It closes on B7, letting the E 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.
Tina Turner - Addicted To Love 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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