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)
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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Key: F | Dm
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.
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.
| 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 | — |
| 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.
Ariana Grande - 34 35 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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