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2

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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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3

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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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TENOR

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BASS
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VOCAL
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PERCUSSION
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BD SD HH CR
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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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hands, hands, hands, hands. Yeah, yeah! And it goes

  

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

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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’, “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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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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2nd time to CODA


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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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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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(p. 5, m. 9)
             
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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’, cause I, I, I

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

                       
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EV
PR
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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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13

EV

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50


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

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W

   

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PR
IE

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


              

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y
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det det det det det det det det det det det det det det det
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nl
     

   

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


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hands in the air, put your hands in the air!
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Yeah! Jen jen jen dat dat jen jen jen dat dat do
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Yeah! Jen jen jen dat dat jen jen jen dat dat do

         
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38203
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14

EV

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opt. DUET
W

      
57
f
 

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I throw my hands up in the

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mf
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W
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Det det det det det det det det
           

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 (end duet)
60
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U v

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air some - times, say - in’, “ay oh, got - ta let go!”
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det det det yeah det det det Det det det det det det det det det det det yeah det det det
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jen jen jen dat dat do Jen jen jen dat dat jen jen jen dat dat do
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15

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W



      
63

  

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

EV

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W

             
         

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W
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I wan - na cel - e - brate and live my life, say - in’, “ay oh,
            
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I wan - na cel - e - brate and live my life, say - in’, “ay oh,
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66 f 67

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

EV

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




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PR
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let’s go!” Yeah, yeah! Hey, yeah!

EV

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PR

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





EV







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W

       
EV
PR

EW

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(opt: continue open HH sixteenths until end)

EW
I

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EV
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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!

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EV
PR

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W

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

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

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

PR

                
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W

  
EV

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EW

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

PR

 
                    
W
al
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EV

PR
IE

W
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EV

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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
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VI