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PERFORMANCE NOTES

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Dynamite, recorded by the English artist Taio Cruz, climbed to the number two

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spot on the U.S. Billboard Hot 100 List, in addition to topping the charts in the

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United Kingdom, Canada, Belgium, Ireland, Australia, and New Zealand. Since
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its release, over 6 million recordings have been sold worldwide.
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This a cappella arrangement uses traditional theory, voice leading, and vocal
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production without losing the strength and attraction of its hip-hop, digital feel.

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The instrumental sounds incorporated offer a chance for directors and performers

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to have fun finding a placement, syllable, or vowel formation that sounds as

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authentic as possible.

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With that in mind, consider the first syllables used in the song. “Tha” should

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sound like the word “that” pronounced softly, and is followed by the percussive
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“dm.” These and all the syllables are suggestive of instruments. In this case, the
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desired sound is that of a synthesized bass line. Consider getting close to the
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sound heard from an upright bass and then add a touch more resonance in the
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tone for the synthesized effect.

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For the drumset, try to isolate each part of the drums. Experiment with different

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syllable sounds such as “buh” for the bass drum, “kah” for the snare, and
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“ts-ts” for the high-hat cymbal. Keep in mind that the vocal percussion sounds

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should be as unvoiced as possible. If the part becomes too difficult, the ensemble
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can stomp on beats 1 and 3 and clap on beats 2 and 4 during the verses.

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Your syllabic approach as an ensemble may change depending on whether


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or not amplification is incorporated. In a non-amplified setting, syllables need


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to be closer to open vowels, so that your audience can hear clearly. The
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instrument sounds may become more authentic if you are using amplification.
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If microphones and a mixing board are available, you may be able to find
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several desired sounds otherwise impossible with the voice alone.

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When in doubt, always reference the sound produced by the actual instrument:
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synthesizer, electric piano, and hip-hop drumset. In all cases, the key to reaching
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the most authentic sound is experimentation. If it doesn’t sound anywhere near


eg

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the original instrument, feel tree to try a different syllable or approach. Use your
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choral and vocal instincts with the instruments as well as the solo. While the
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solo is written for a tenor, a powerful alto could easily sing all or part of it as
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well.
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The contemporary a cappella movement is not just for the audience. Directors
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and performers should have fun experimenting with this arrangement and enjoy
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both the rehearsal process and final performance.


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Alex Phan
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DYNAMITE

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for S.A.T.B. divisi voices, a cappella

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Arranged by Words and Music by BONNIE McKEE,
ALEX PHAN TAIO CRUZ, LUKASZ GOTTWALD,

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MAX MARTIN, and BENJAMIN LEVIN
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Energetically (q = ca. 120-126)
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SOLOIST
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I came to dance, dance, dance, dance. I hit the floor ’cause that’s my
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SOPRANO
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Tha dm thm tha dm thm thm thm Tha dm thm tha dm thm thm thm

  

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TENOR

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BASS
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Tha dm thm tha dm thm thm thm Tha dm thm tha dm thm thm thm
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VOCAL
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PERCUSSION
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BD SD HH CR
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VOCAL
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PERCUSSION
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NOTATION
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© 2010 BONNIE MCKEE MUSIC/DOWNTOWN DMP SONGS, EMI MUSIC PUBLISHING LTD.,
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KASZ MONEY PUBLISHING, MARATONE AB and WHERE DA KASZ AT?


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All Rights for BONNIE MCKEE MUSIC/DOWNTOWN DMP


Administered by DOWNTOWN MUSIC PUBLISHING LLC
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This Arrangement © 2012 BONNIE MCKEE MUSIC/DOWNTOWN DMP SONGS,


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EMI MUSIC PUBLISHING LTD., KASZ MONEY PUBLISHING, MARATONE AB and WHERE DA KASZ AT?
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All Rights Reserved. Printed in USA.


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Sole Selling Agent for This Arrangement: Alfred Music Publishing Co., Inc.
To purchase a full-length performance recording of this piece, go to alfred.com/downloads
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plans, plans, plans, plans. I’m wear - in’ all my fav - ’rite

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brands, brands, brands, brands. So give me space for both my


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Tha dm thm dat dat dat Tha dm thm tha dm thm thm thm
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hands, hands, hands, hands. Yeah, yeah! And it goes

  

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Nah nah nah nah nah nah


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on and on and on! And it goes on and on and on!
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on and on and on! And it goes on and on and on!


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on and on and on! And it goes on and on and on!


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on and on and on! And it goes on and on


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and on!
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on and on and on! Yeah, it goes on and on and on!


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Yeah! I throw my hands up in the air some - times, say - in’,

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Yeah, hey! Hey, yah, hey, yah,




 


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Yeah, hey! Jen jen dat dat dat jen jen dat dat dat do
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Yeah, hey! Hey, yah, hey, yah,

  

 


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“ay oh, got - ta let go!” I wan - na cel - e - brate and


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“ay oh, got - ta let go!” I wan - na cel - e - brate and


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Jen jen dat dat dat let it go! Dat dat do I wan - na cel - e - brate and
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“ay oh, let go!” I wan - na cel - e - brate and


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Jen jen dat dat dat let it go! Dat dat do I wan - na cel - e - brate and
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live my life, say - in’, “ay oh, ba - by, let’s go!” ’Cause we gon’

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live my life, say - in’, “ay oh, ba - by, let’s go!”


         

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live my life, say - in’, jen jen dat dat dat let it go! ’Cause we gon’

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live my life, say - in’, “ay oh, ba - by, let’s go!”

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live my life, say - in’, jen jen dat dat dat let it go! ’Cause we gon’
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rock this club. We gon’ go all night. We gon’


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rock this club. Go all night.


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rock this club. Go all night.

 
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Yeah, yeah! Hey, yeah!


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rock this club. We gon’ go all night. Yeah, we gon’


   
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(opt: continue open HH sixteenths until m. 30)


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light it up like it’s dy - na - mite. ’Cause I told you once, now I

   

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Light it up. Dy - na - mite. Told you to get it, yeah!


              

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Light it up. Dy - na - mite. Told you to get it, yeah!
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light it up like it’s dy - na - mite. Yeah,’cause I told you once, now I
     
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2nd time to CODA


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(p. 11, m. 37)
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told you twice. We gon’ light it up, like it’s dy - na - mite. I came to
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Come on! Light it up, get it, yeah! Come on!



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Come on! Light it up, get it, yeah! Come on!


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Hey, hey, yeah! Light it up, get it, yeah! Hey, hey, yeah!

     
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told you twice. Yeah, we gon’ light it up, like it’s dy - na - mite. Dat dat do
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2nd time to CODA 


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(p. 11, m. 37)

     


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move, move, move, move. Get out the way of me and my

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crew, crew, crew, crew. I’m in the club so I’m gon - na
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do, do, do, do, just what the heck I came here to

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D.S. al CODA
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do, do, do, do. Yeah, yeah! And it goes


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D.S. al CODA
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(p. 5, m. 9)
             
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11
CODA

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dy - na - mite. I’m gon - na take it all,

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gon - na be the last one stand - in’. I’m a - lone and all,




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gon - na be the last one stand - in’, cause I, I, I

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be - lieve it. And I, I, I, I just want it all.

                       
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det det det det det det det det det det det det det det det
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det det det det det det det det det det det det det det det
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det det det det det det det det det det det det det det det
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jen jen jen jen jen jen jen jen jen


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I just want it all. I’m gon - na put my hands in the air,

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det det det det det det det det det det det det det det det


              

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IE

det det det det det det det det det det det det det det det


cEhW
            

EV

    
O
   
W

   

urVI
PR
IE

PRE
jen jen jen jen jen jen jen jen jen
IE

W
     
sP
EV

     
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IE
     
W

EV
PR
IE

e
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EV

PR
e
qEuV

f          
PR

53 55
W

 

EV
PR
IE

W
s i
EV

PR
IE
U v

 
hands in the air, put your hands in the air!
R

EV


PR

f
   
eW


re

PR
IE

W
EV

Yeah!
IE


EW

f mf

              

EV

 
PR


al
I
P
EV

PR
IE

Yeah! Jen jen jen dat dat jen jen jen dat dat do
eWg


EV

 
f
IE

 

EV
PR
LIE

W
EV

Yeah!
PR
IE

  
            
f mf


EV
PR

PR
IE

Yeah! Jen jen jen dat dat jen jen jen dat dat do

         
EV

PR


IE
W

 

EV

         
PR

EW

PR

EW
I

38203
EV
W

VI
E

I
EV
PR

PR
IE

EW
14

EV

PR

opt. DUET
W


      
57
f
 

I
EV
PR 

PR
IE

W

I throw my hands up in the

EV

IE
mf
W


       
 

EV
PR
IE

W
EV

PR
IE
Det det det det det det det det
           

EV
PR

IE
           
W

   

y
e EV
PR
IE

W
Jen jen jen dat dat jen jen jen dat dat do Jen jen jen dat dat
EV

     

PR
IE
mf

nl

   


s
EV
PR

a
PR
IE

cEhW
Det det det det det det det det

                      

EV

  
O
W

urVI
PR
IE

PRE
Jen jen jen dat dat jen jen jen dat dat do Jen jen jen dat dat
IE

               

W
 
sP
EV
e w

IE
              
W

EV
PR
IE

e
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EV

PR
e
qEuV


PR

 (end duet)
60
W

 

          

EV
PR

   
IE

W
s i
EV

PR
IE
U v


R

air some - times, say - in’, “ay oh, got - ta let go!”
EV
PR

        
eW


             

re

PR


IE

W
EV

det det det yeah det det det Det det det det det det det det det det det yeah det det det
IE


EW


                     
EV
PR

  
W


al
I
P
EV

PR
IE

jen jen jen dat dat do Jen jen jen dat dat jen jen jen dat dat do
eWg

              
EV


  
IE

 

EV
PR
LIE

W
EV

PR
IE

det det det yeah det Det det det det det det det det det det det yeah det

                    
 
EV

   
PR

PR
IE

jen jen jen dat dat do Jen jen jen dat dat jen jen jen dat dat do

             
EV

PR
IE

   
W

              
EV
PR

EW

PR

EW
I

38203
EV
W

VI
E

I
EV
PR

PR
IE

EW
15

EV

PR

W



      
63

  

I


EV
PR         

PR
IE

W

I wan - na cel - e - brate and live my life, say - in’, “ay oh, ba - by

EV

IE

W

             
         

EV
  PR
IE

W
EV

PR
IE
Det det det det det det det det det det det yeah det det det “ay oh,


         

EV
PR

  

IE
W

   

y
e EV
PR
IE

W
I wan - na cel - e - brate and live my life, say - in’, “ay oh,
            
EV

PR
 

IE
 

nl
 



s
EV
PR

a
PR
IE

Det det det det det det det det det det det yeah det “ay oh,

cEhW

           
     
EV


O
W

urVI
PR
IE

PRE
I wan - na cel - e - brate and live my life, say - in’, “ay oh,
IE

W
sP
  
EV


e w

IE
W

EV
PR
IE

e
iIErW
EV

PR
e


qEuV
PR

66 f 67

    
W

  
            

EV
PR
IE

W
s i
EV

PR

IE

let’s go!” Yeah, we gon’ rock this club. We gon’ go all night. We gon’
U v
R


f
    
EV

   
PR

 
eW

 
re

PR
IE

let’s go!” Rock this club. Go all night.


EV


IE
EW

           

   
EV
PR


W
al
I
P
EV

PR
IE

let it go!” Yeah, we gon’ rock this club. Go all night.


  
eWg

 

    
f
EV

  
IE


EV
PR
LIE

let’s go!” Yeah, yeah! Hey, yeah!


EV

PR
IE

   


    
  

f

       
EV
PR

PR
IE

let it go!” Yeah, we gon’ rock this club. We gon’ go all night. Yeah, we gon’
   
EV

    
 
PR
IE


W

       
EV
PR

EW

PR

(opt: continue open HH sixteenths until end)


EW
I

38203
EV
W

VI
E

I
EV
PR

PR
IE

EW
16

EV

PR

W

    
69

             

I
EV
PR  

PR
IE

W

light it up like it’s dy - na - mite. ’Cause I told you once, now I

   

EV


IE
      
   
W

EV
PR
IE

W
EV

PR

Light it up. Dy - na - mite. Told you to get it, yeah!

IE
   

   

       

EV
PR

IE

W

y
e EV
PR
IE

W
 
Light it up. Dy - na - mite. Told you to get it, yeah!

          
    
EV

PR
IE


nl
s
EV
PR

a
Yeah, yeah! Hey, yeah! Told you to get it, yeah!

        PR
IE

                     

cEhW
EV

O
W

urVI
PR
IE

light it up like it’s dy - na - mite. Yeah,’cause I told you once, now I


     
W







 
PRE 



IE

W
      
sP
EV
e w

IE
W

EV
PR
IE

e
iIErW


EV

72
PR
                 
e
qEuV
PR

EV
 
PR
IE

told you twice. We gon’ light it up like it’s dy - na - mite!


W
s i

   
              
EV

PR
IE
U v
R

 
EV
PR

eW


Come on! Light it up, get it, yeah! Dy - na - mi - i - i - i - te!
re

PR

                
IE

 
W

 
EV

IE
EW

EV

Come on! Light it up, get it, yeah! Dy - na - mi - i - i - i - te!


PR


                    
W
al
I


EV

PR
IE

W
eWg

EV

IE

Hey, hey, yeah! Light it up, get it, yeah! Dy - na - mi - i - i - i - te!

              
EV


PR

            
LIE

    
EV

PR
IE


told you twice. Yeah, we gon’ light it up like it’s dy - na - mi - i - i - i - te!
EV

    
PR

    


W

      
 
PR
IE

        
W
EV

PR
IE
W

EV
PR

EW

PR

EW
I

38203
EV
W

VI