How bout a dance sheet music
How Bout a Dance Sheet music Bonnie and Clyde
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Download How Bout a Dance Sheet Music PDF From Bonnie & Clyde (The Musical)
“How Bout a Dance Sheet Music PDF From Bonnie & Clyde (The Musical)” for Piano Sheet Music, Scoring Piano / Vocal / Chords , Original key: Ab Major, number of pages sheet music PDF: 4, and Lyrics song How Bout a Dance Sheet Music PDF From Bonnie & Clyde (The Musical) Free Download.
| INFO SONG | |
|---|---|
| Title: | How Bout a Dance |
| Artist: | from Bonnie & Clyde |
| Instrument: | Piano Sheet Music |
| Key: | Ab Major |
| Metronome: | 88 |
| Scoring: | Piano / Vocal / Chords |
| Styles: | Broadway, Musical Theatre |
| Difficulty: | Medium |
| File type: | |
| Pages: | 4 |
| Download: | Free |
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VideoLyrics How Bout a Dance From Bonnie & Clyde (The Musical)
How Bout a Dance
BONNIE:
How ‘bout a dance? What do you say?
I’ve got some moves that I’d love to show you.
Let’s find a spot and dance the night away.
How ‘bout a dance? It’s always fun.
Come over here. Let me get to know you.
Can’t beat a band to lift your spirits high.
You look so handsome.
How ‘bout a dance? Let’s make a start.
Music like this can really throw you.
You’ll lose the blues, and you may lose your heart.
Tonight is the night I’ve been waiting for.
Even the moon looks just right.
I’m sure the crowd will make room on the floor.
When they see you look like you do.
So how ‘bout a dance? Let’s make a start.
Music like this can really throw you.
You’ll lose the blues, and you may lose your heart.
You’ll lose the blues, and you may lose your heart.*****
“How Bout a Dance’” from Bonnie & Clyde is a musical with music by Frank Wildhorn, lyrics by Don Black and a book by Ivan Menchell.
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How I learned to write dance music and started releasing on labels — Music on DTF
A big story about finding yourself in creativity.
With pictures and music.
14 216 views
Hi, I'm Muchkin. I write music. I make money with soundtracks for indie games, and for my soul and career I also make tracks in the genre of melodic house and techno. About how I came to composing, I wrote in a recent text. Now let me tell you about my path in dance music.
Screenshot of my latest project so far
Beginning
Somewhere in the ninth grade, I first heard Prodigy - Voodoo People (Pendulum Remix) as part of a mix from DJ Stroitel. I got crazy and started to get interested in drum and bass. I listened to Pendulum, Noisia, Spor, danced drum and bass dance, which we called drumstep.
Then I thought that I also want to write the same energetic cool music with rich drum parts. I had no idea how it was done, and the search led me first to some kind of MIDI editor, in which I made a couple of songs. And then I found FL Studio, a sequencer that I've been using for over a decade.
The first tracks were terrible.
I shared them under a shameful pseudonym on PromoDJ, in an active community of fellow beginners. We intelligently criticized each other's tracks, not knowing anything at all about how music is created. But it's always like that when you start.
I once read the idea that you need to make the first 100 songs as quickly as possible, because after them normal music will follow. In my experience, yes, something like this is
Toward the end of school, a dream began to form in me: I will learn how to make cool music for the university, and by the end of the fourth year I will become, if not a world star, then certainly a professional and respected music producer (a person who earns money by creating and performing electronic music ).
University
In fact, for four years at university, I basically did only three things: studied (albeit well), played video games and suffered from fears and anxieties.
Despite the fact that the dream still lived somewhere on the border of consciousness, and I considered myself a music producer, writing tracks faded into the background.
It wasn't because I was lazy or because I didn't want to make music. Just because I thought of a great success in advance, creativity turned into a hard and painful task. High anxiety, disorders, traumas, and just the peculiarities of the psyche (which I realized only ten years later thanks to psychotherapy) exacerbated the situation.
For example, I wrote this track for a whole year and spent more than hundred hours on it . That was the pace at which I produced finished works at that time.
Funny story. Born in Space found some cunning guy on PromoDJ and wrote me, they say, let's release it on my label. I went nuts from the word "label" and agreed. We even signed some kind of contract through the Proton system. After that, the man disappeared. Until now, the composition can be found on streaming services - he released it ten times, probably, and all under different "labels".
I didn't make a dime from it, of course. I suspect that he is also
Among my other works during this time, one can single out this psychedelic “neurofunk”, in which everything that is possible is not in tonality. When I wrote it, I did not yet know what tonality was.
This was supposed to be an intro for my friend's YouTube show, but it never launched.
At the university, I wrote little music, but this does not mean that I did not develop creatively. I listened and analyzed bass genres a lot and sometimes through suffering I made tracks. Many did not finish. So there was progress, but very slow.
This composition also took about a year and 60-80 hours of work.
My music from this period seems to meet some minimal requirements of the genres (the structure is readable, the sounds are more or less intelligible, the kick and snare give some kind of energy, sometimes there is even a sub-bass), but they are crooked, poorly thought out and uninteresting .
I just used samples, notes and instruments that seemed appropriate and didn't think about the big picture, melody or atmosphere. And, I suspect, for the better. If I had been worried about this as well, then anxiety would have completely crushed me.
By the way, my suffering also had some advantages. From the very beginning of working in FL Studio, I decided that I needed to create all the presets for the synths myself, and so I did. By the time I received my diploma, I had a good knowledge of the standard synths of the program and even a small library of presets.
By the way, about the diploma: I wrote this experimental composition dedicated to a headache closer to the defense, which is symbolic.
Work
After my bachelor's degree, I went to the master's program and at the same time started looking for a job. For a year and a half, I was doing all sorts of small jobs (once I even made the whole foley for a short film). I didn’t do much music, although I was able to complete a couple of projects.
For example, this future beats track inspired by Ivy Lab and Noisia Radio selections.
And an old school drum and bass remix for Dorn (there was a PromoDJ contest).
I was looking for ways to make money on music: I applied to local game and recording studios, I tried my luck in creating beats and stock tracks. In vain. As I studied the market and read the stories of more successful producers, an unbearable, terrible thought formed in my head.
To achieve something, you have to work very hard
That explained a lot.
At the beginning of 2017, I was accepted to DTF. Since childhood, I loved games, I read LKI, the Land of Games and Igromania, so I was very happy with this opportunity.
I was part of the editorial staff for almost two years. At this time it was difficult to find the strength and time for music. I watched tutorials, analyzed other people's tracks, replenished my database of samples and presets, but completed projects during this time can be counted on the fingers of one hand.
Weird downtempo project - time.
Dubstep with the voice of YouTuber Jacksepticeye - two.
Gloomy base house - three.
Drum and bass, started back in 2016, four.
I tried to send each of these tracks to labels, but they were not taken anywhere. I was surprised: how is it that they have everything. And powerful basses, and cool drums, even some interesting effects. Isn't that enough?
Oh, how little I understood.
Composing
In the spring of 2019, I started building a career as an indie game composer. A few months later, this occupation even began to bring in some money and soon became the main one for me. (You can read about this path here.)
I found a way to make money with music and immersed myself in creativity. A little bit not the direction that I dreamed of, but still it was progress. Working on the soundtracks, I learned to feel the music better, learned new techniques and added to my own libraries even more.
As for dance tracks, at the end of 2019, aggressive and fast base house was popular, and I tried to sit on this hype train.
But no labels took the track, so I released it myself through distributor DistroKid. It was my first "adult" release - the one that appeared on streaming services. So far, I have earned exactly $0.03 on it. That's 17 auditions.
Back in the beginning of 2020, I made time for the LEAVEMEALONE halftime track.
The flops over the past couple of years made me wonder: what is wrong with my music? Why doesn't anyone want to take it? Reflection and reflection led me to an important conclusion: in the first place, I do not make the music that I really want.
I became interested in making music thanks to drum and bass, then I started listening to dubstep and electro house, and for some reason I always felt that these genres were what I needed to work on. But as soon as I listened to myself a little (which I had never done before), it turned out that I had nothing to express through bass music.
Therefore, I spent the following months looking for genres that would most accurately reflect my inner state. They were melodic house and techno.
Brute force
Since April 2020, I have decided to get into dance music properly. Since I used to be able to create compositions only through force, I came up with a challenge for myself: to finish one track every month.
The logic was like this. By forcing myself to work on dance compositions month after month, sooner or later I had to develop all the necessary skills needed to create cool music.
I was going to basically brute force my creative powers
The first track turned out to be clumsy. The mixing is murky, there is not much development, both drops are arranged as if it were a summer banger, although a soulful melodic techno was conceived. But for starters, it will.
This track (and several others) I released again via DistroKid.
Even tried to buy ads for him through Facebook. There were still few auditions (39 to date), but I was resentful of the label system after so many rejections and was determined to make a name for myself.
The next composition in May, Pasturage, was much softer. Birds, forest, nice sound design and summer rain atmosphere.
For this track, I also purchased advertising. This time I set up the ad better and invested more money, so the output was more tangible. Now he has 138 plays.
The June track Arcane turned out to be mysterious and attractive, like a Celtic forest. Hence the name.
I did not commission advertising for him, because the determination to promote myself in the music industry began to fade. I didn’t pour so much money into advertising tracks, but there was no more extra money.
The conclusion was that you can break through on your own only in two cases: if you have a lot of money for advertising (I didn’t), or if you know how to do cool PR in social networks (I didn’t know how).
labels again.So I started looking towards
Arcane was not taken to the labels (I did not even hope), but they took Autarca - the July track. Here's a snippet of it, and you can listen to it in full here.
It was released as a compilation on the sub-label of a small St. Petersburg publishing house Polyptych. I knew perfectly well that this would not bring me any money or popularity, but I signed the contract anyway. You have to start somewhere.
The next track was a bit hooligan Help a Robot. I didn't send it anywhere, because big labels wouldn't take it, and it was long and tedious to look for small labels with such music. How do you even google them? "Labels with frivolous electro-house"?
In autumn I decided to make a three-track mini-album. For some reason it seemed to me that labels were more willing to take EPs than singles.
Even by this moment I had heard a lot of music in the selected genres and realized that in melodic house and techno, few people make tracks shorter than six minutes.
So from now on, all my new compositions slowly fade in and out.
In general, the music has become less hasty and more conducive to immersion and thoughtful listening
As you might expect, my plan to boost my chances with labels with the EP didn't work out very well. The release was eventually taken to the same Polyptych Limited (it will be released on July 5), but I was hoping for something bigger.
In December I finished the new track Rewired and decided to take a break. Working non-stop for nine months (and I also did soundtracks) without tangible results led to the fact that I just burned out.
Rest helped me rethink my priorities and figure out which way to go. I stopped caring too much about labels and started focusing more on creativity and self-expression. Plus, psychotherapy helped (and still helps) to listen to yourself better.
Rewired was included in the compilation for the Moscow label ONESUN (will be released sort of like in the summer).
Opening
I wrote the next composition at a more relaxed pace: burnout forced me to abandon the "one track per month" mode. Simultaneously with the work on the track, I was doing research. He carefully studied music in the chosen genres, pestered successful producers with questions, whom he could reach.
The result was the biggest takeaway of all time: major labels need unique music first and foremost. One that has not yet been
Within the genre, of course, although the boundaries between melodic house and techno are blurred.
How to achieve uniqueness? For me, the answer is simple: it comes from the uniqueness of the psyche. If you learn to listen well and express yourself adequately, then creativity will be unique. Therefore, when creating Bird Law in January 2020, I tried to listen as often as possible to what melodies, sounds, effects and just decisions resonate with me.
This track doesn't just meet some technical requirements, it's undeniably my . For example, the title is taken from a comic book that I really like.
It's the law
And the theme of birds in it is not only because of the name, but also because these animals (but not all) touch me and my wife very much. And also partly a track about the love that I feel for my wife, and this has something in common with the comic book. In general, a warm work about good things. The ones in me.
I don't know how noticeable this is to the outside listener, but I see a massive improvement over the previous compositions. He was even taken to a more serious label - the Italian Natura Viva. They promised to release it as part of a compilation. I don't know when exactly: for some reason, labels rarely notify me about such things, and I myself don't really care. I'm more focused on future works.
The last track so far is called You're Not What Your Mind Tells You.
It's about my many battles with my own brain. It is a little sad, but with a light undertone, because no matter how scary the battles are, there is always a possibility to win. At least I can.
The other day I signed him to the Belgian label Sound Avenue. It will first be released exclusively on Spotify to try and push it into the platform's playlists, and will be released as part of a sub-label compilation in August.
After You're Not What Your Mind Tells You, I again rethought my creative process. Now I try to treat music less as a series of separate projects and more just as a field for experiments, from which cool completed projects will grow. Let's see where this takes me.
Such things. Thanks for reading. By the way, I will soon launch a course on creating electronic music from scratch. If interested, you can read the details here.
If you like my music, you can subscribe to Soundcloud, YouTube or Spotify. All my future tracks will appear there as well.
Also here are my social networks: Facebook, Twitter, Instagram, Twitch.
How to write music without knowledge of music and music school | by NikolayGolovko
For those who don't get melodies and harmonic ideas now, and want to write electronic music, and music in general, it is important to understand 2 points:
- No need to worry about mixing, processing, mastering, modern samples or synthesizers in any way now. Since the question of the musical basis is first of all necessary in its understanding, but just the basics are necessary. And yes, without this understanding of the basics, you will not go anywhere else, well, the maximum where you will go is in the techno / techno genre.
- The issue of harmony may not be as fun as practical music making and instrument selection, ie. arrangement, but he is directly related to it and underlies it. and 95% of melodies and harmonies in the tracks that you hear from your idols is the result of just understanding those basics of musical theory - no more, and in studying with due pressure and practice, it will take you from 1 week to a month, depending on your desire and zeal.
If you are completely lazy, you don't even need to know the correct names of all notes and chords, but it's just better to navigate them and know the basic rules of playing on the Piano Roll field or maybe on a MIDI keyboard.
I will start with the simplest principles in order to dispel as much as possible all the darkness in your head regarding notes and harmony, and towards the end I will tell you why you all came here: how to write melodies or harmonies in any shade without strain - harmony for danceable and cheerful House composition, serious and epic harmony for a trance composition or a brutal and aggressive melody for Trap, Dubstep or Drum'n'Bass.
How to manage the mood of the audience of listeners, using only basic principles and concepts in harmony. And turn your simple such joyful shades into epic and serious, and indeed, how to write initially if you want cool and catchy harmonies and melodies.
Piano keys or Piano Roll may look very difficult and confusing to you if we look at it for the first time, but if we look and strain for more than 2 minutes, we will recognize an unsymmetrical pattern, 2 and 3 black keys (giving by a simple calculation 5), seven white keys, which are not separated by black ones in two moments .
..
It turned out 12 keys in a pattern that repeats later, all over the keyboard or Piano Roll.
This pattern is called an octave and all octaves are different in height, but the notes in them repeat exactly the same.
The primary and most important point that all beginners who do not want to give 5 or 6 years of their life to a music school need to understand is, in the yard language, which buttons to press and which ones you should not.
And we should “press”, as a rule, within the limits of the implementation of one of your ideas in a track, only 7 keys out of 12 in one octave. And how to find these 7 keys now? ..
So, if you are a beginner, you should always begin to understand the logic of notes and the terrible word of keys from the white keys of the piano, that is, Do Re Mi Fa Sol La Si, it is important to number and even remember a little the number of each of the steps.
Pay attention to the so-called "code" of indentation on all 12 keys, so purely for the future for interest:
2–2–1–2–2–2–1 -T-p-)
Not symmetrical, like the whole system, and it already has harmony, musicality and something carefree and fun if you try to play something on these keys, starting from the first step " Do\C"
and if you understand the simple "step 2" how simple chords are formed, then you can already make quite cool and cheerful harmonies.
Simple chords in their simplest form, and even on white keys, do not represent anything complicated. If you have a keyboard or a similar visualization in front of you, then we take our luxurious five - we put it in this way, from any note to get a template - “3 simultaneously pressed keys - through one (allowed / white) and we get a chord.
The chord, which, in case you want to know its name, is called the note you started with. It is this template that we press 3 notes at the same time through 1 allowed note, we use the same if we just work in the Piano roll of any sequencer.
If we write on white keys and want to get positive cheerful dance harmonies and ideas, then we start with the first chord in this system Do Re Mi Fa Sol la Si - From the chord to DO.
You can already try to write a "hit" harmonic chord sequence for your idea, which then it will be fashionable to beat with a melody from above on the same notes.
You will immediately notice a lot of interesting things, that, for example, not all chord progressions sound cool and meaningful and generally interesting, and that one of the 7 resulting chords in this whole system sounds suspiciously out of date for dance music, so it is in 95% of the time it's not used as a chord at all.
So you have 6 boldly working chords in the C major key.
The popular form is already a certain sequence of the first and selected other 3 chords, in total a sequence of 4 chords and then repeat them again and again, maybe change the last chord in the next repetition.
I'll save you from a common mistake of beginners right away - overly logical and very frequent in attempts, beginning to get something emotional sequence of steps of chords in a row upwards - it does not end in success, more often you will have to retreat from the first step lower and then only samples.
Now the most important thing is what to do if I want to write the most “hit” and serious melodies and harmonies for Progressive House, Trance, Dubstep, Future House, Future Bass and a bunch of other genres… Then for this such a scheme needs to go through a small is just a transformation.
Everything that was before that - those rules of the game according to the notes and the scheme from the first taken note “Do \ C” - Ton-Ton-SemiTon-Ton-Ton-Ton-SemiTone.
In music, the major scheme is called, and if we took this scheme and retreated from the note “C \ C”, then a terrible word appears - tonality and it turns out that the tonality is “C-MAJOR”.
But all popular tracks and a good 70-80% of electronic and dance music are not written in a major structure and not in a similar mood, as many might have noticed, but in minor keys, that is, in this scheme, and by the way, nothing terrible, for example, if you have already written in a cheerful major structure, in your opinion a hit - after watching this video you can turn it into a serious or pensive harmony with a few movements, which usually feels deeper, cooler and more epic, well, that's why this is the most interesting , isn't it…
Looking at our keyboard or Piano Roll. And now to get a new indentation code and rules of the game on this field. We need to lower the old scheme by a semitone; 3rd, 6th and 7th steps.
Those parts from the chords that we performed now will sound much more serious, somewhere sadder and more epic.
Plus, you will notice that the chord on the 7th step returned to us (which we lowered this time), but it turns out to be a chord that is strangely disharmonious for electronic music, but already on the second step. Therefore, in the minor key, there are always working simple chords 6, the second step will be used as rarely as possible.
But how difficult it is now to calculate which whites can be used to draw which ones can't, and which blacks can be used to draw which ones can't - you will also have to calculate and memorize!
Life hack for this, so as not to worry and see the allowed notes of the key in FL Studio in the 12th or 20th version, this is the Helpers-Scale Highlighting tab in the Piano Roll, and there we can select the Root Note (the root note of the beginning reference) and scheme/code of the fret — Major or Minor Natural.
But for those who do not want to use such tips, everything is fine here - there is also a way to be a serious and epic producer within the limits of everyone's favorite white keys.
If you count the intervals from the note, which is called the first letter of the alphabet in principle - “A \ La”, in the same “tone-semitone” way, then you will get the same scale minor code, and therefore all white keys, if you start from here this note, they give us, in addition to “C major”, also “A minor”, that is, the numbering of steps for us is shifted, if we are based, with our root note on another step and starts from it.
And for some, it’s not very surprising for someone, but yes, both the cheerful major and the serious minor have the same notes and even the same chords, since the same one is not beneficial for electronic mainstream music chord on the 7th degree of a major, just to be on the second degree of a minor, the puzzle is assembled here.
The whole difference is that we, as musicians, set the role of the tonic (root note) and “home” i.e. first chord.
Such a parallelism in keys gives us a very cool opportunity to control the mood in our music even easier.
And in this way, major and minor can be referred to and moved here and there - right in the context of your one composition, since all the constituent notes and chords are the same. And even often it does not matter whether you think that you are playing in a minor or a major parallel to it, it is important which chord you emphasize as "home".
A very legendary example is Tim Berg's composition - Bromance, which begins as if in a major key ... but ends and accentuates for a long time - an A minor chord.
And there are a lot of such practical laws, from simple fundamentals, with the help of which you can get such ideas and melodies.
Remember that harmony is an important foundation and it is primary in creating music, neglecting it always means de-motivating yourself in the process of learning to create music, since you will be very unhappy with the result of your idea and who will want to implement an initially disliked idea.
