Ariana Grande - 34 35 - Chord

Key F major – D minor Chords Gm7, C7, Fmaj7, Dm7, Gm/E, D7 Easy key C (capo 5)

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Capo 0

Gm7
 You might think I'm crazy
C7
 The way I've been cravin’
Fmaj7
 If I put it quite plainly
Dm7
 Just give me them babies
Gm7
 So what you doing tonight?
C7
 Better say, "Doin' you right" (Yeah)
Fmaj7                     Dm7
 Watching movies, but we ain't seein' a thing tonight (Yeah)

Gm7
 I don't wanna keep you up (You up)
C7
 But show me, can you keep it up? (It up)
Fmaj7
 'Cause then I'll have to keep you up
Dm7
 ..., maybe I'ma keep you up, boy
Gm7
 I've been drinking coffee (I've been drinking coffee, coffee)
C7
 And I've been eating healthy (I've been eating healthy, healthy)
Fmaj7
 Know I keep it squeaky, yeah (Know I keep it squeaky)
Dm7
 Saving up my energy (Yeah, yeah, saving up my energy)

Gm7                  C7
 Can you stay up all night
                      Fmaj7
 Love me 'til the daylight
                     Dm7
 Thirty-four, thirty-five (Yeah, yeah, yeah, yеah)
Gm7                  C7
 Can you stay up all night?
                      Fmaj7
 Love me 'til the daylight
                     Dm7
 Thirty-four, thirty-five (Yeah, yeah, yeah, yеah)

Gm7              C7
 You'll drink it just like water (Water)
Fmaj7          Dm7
 You'll say it tastes like candy

Gm7
  So what you doing tonight?
C7
  Better say, "Doin' you right" (Yeah)
Fmaj7                     Dm7
  Watching movies, but we ain't seein' a thing tonight (Yeah)
Gm7
  I don't wanna keep you up (You up)
C7
  But show me, can you keep it up? (It up)
Fmaj7
  'Cause then I'll have to keep you up
Dm7
  ..., maybe I'ma keep you up, boy
Gm7
  I've been drinking coffee (Said I've been drinking coffee; coffee)
C7
  And I've been eating healthy (And I've been eating healthy; healthy)
Fmaj7
  Know I keep it squeaky, yeah (Except this wine, babe)
Dm7
  Saving up my energy (Yeah, yeah, yeah)

Gm7                  C7
 Can you stay up all night?
                      Fmaj7
 Love me 'til the daylight
                     Dm7
 Thirty-four, thirty-five (Yeah, yeah, yeah, yеah)
Gm7                  C7
 Can you stay up all night?
                      Fmaj7
 Love me 'til the daylight
                     Dm7
 Thirty-four, thirty-five (Yeah, yeah, yeah, yеah)

Gm7                                      C7
 Baby, you might need a seatbelt when I ride it
                           Gm/E         Fmaj7
 I'ma leave it open like a door, come inside it
                                              Dm7                       D7
 Even though I'm wifey, you can hit it like a side chick. Don’t need no side, no
Gm7
 Got the neighbors yellin' "Earthquake!" (Earthquake)
C7                        Gm/E
 4.5 when I make the bed shake
Fmaj7                                                       Dm7                     D7
 But you down to hit it even though it's lightweight (It's lightweight,yeah, yeah, yeah, babe)
                       Gm7                    C7
 We'll start it at midnight, go 'til the sunrise (Sunrise)
                     Fmaj7
 Don't have to save time (Yeah)
            Dm7
 But who's counting the time when we got it for life? (Got it for life)
Gm7
 I know all your favorite spots (Favorite spots)
C7
 We can take it from the top (From the top)
Fmaj7
 You such a dream come true, true
Dm7
Make  ... wanna hit snooze, ooh

Gm7                  C7
 Can you stay up all night?
                      Fmaj7
 Love me 'til the daylight
                     Dm7
 Thirty-four, thirty-five (Yeah, yeah, yeah, yеah)
Gm7                  C7
 Can you stay up all night?
                      Fmaj7
 Love me 'til the daylight
                     Dm7
 Thirty-four, thirty-five (Yeah, yeah, yeah, yеah)

Gm7  C7  Fmaj7  Dm7

End of song Play again?

Ariana Grande - 34 35 Tabs

NotesX

Harmony analysis

Ariana Grande – 34 35: key and chord analysis

The song opens on Gm7 and ends on Dm7. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it comes to rest on Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
Imaj7	Fmaj7	Tonic — home	F · A · C · E	19×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	19×
ii	Gm/E	Supertonic — prepares the dominant	G · Bb · D	2×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V7	C7	Dominant — strongest pull home	C · E · G · Bb	19×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	19×
V7/ii	D7	Secondary dominant V/ii — leads to Gmsecondary dominant	D · F# · A · C	2×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	19×
V7/iv	D7	Secondary dominant V/iv — leads to Gmsecondary dominant	D · F# · A · C	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
IIImaj7	Fmaj7	Relative major — the bright side	F · A · C · E	19×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	19×
iv	Gm/E	Subdominant — moves away from home	G · Bb · D	2×
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII7	C7	Subtonic — steps back to the tonic	C · E · G · Bb	19×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 80 times in total; 5 of them sit naturally inside the shared scale. D7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Gm7 C7 Fii7 → V7ii → V Dmiv7 → VII7 ×19
C7 Fmaj7 FV7 → Imaj7authentic cadence DmVII7 → IIImaj7 ×17
D7 Gm7 FV7/ii → ii7secondary resolution DmV7/iv → iv7 ×2

The move to watch is Gm7 → C7, heard 19 times. From the Dm side it is iv7 → VII7; from the F side it reads ii7 → V7 (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over C7, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Fmaj7, land on F, A, C — 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on Gm7, the song gives away its key from the very first bar. The backbone is Gm7, C7, Fmaj7, Dm7 — ii7–V7–Imaj7–vi7 from the F side, iv7–VII7–IIImaj7–i7 from the Dm side. D7 adds a moment of surprise: secondary dominant V/ii — leads to Gm. Keep an ear on Gm7 → C7 (ii7 → V7 in F, iv7 → VII7 in Dm): ii → V — the classic preparation of the dominant. It closes on Dm7, letting the Dm 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.