Let me teach you how to dance song
let me teach you how to slow dance by ronnie mcdowell
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Ronnie McDowell | LET!Z DANCE | Let You Go |
Let Me Introduce You To … | Slow Dance | Dance Gavin Dance |
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(If You Let Me Make Love… Ronnie Dyson | An Introduction to Missi… Mississippi Fred McDowell | Dance Dance Dance James Last |
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Dance Dance Dance: Dance… Various Artists | Dance Dance Dance: Hits … Various Artists | Dance, Dance, Dance Chic |
Lyrics:
Teach Me [Bonus Track]
Joey Bada$$
B4. DA.$$
2015
that's around, so you have to pay a fee Won't you teach me how to dance, how to dance Won't you teach me how to dance, teach how to dance Let me
Teach Me [Bonus Track]
Joey Bada$$
B4.DA.$$ [LP]
2015
that's around, so you have to pay a fee Won't you teach me how to dance, how to dance Won't you teach me how to dance, teach how to dance Let me
Teach Me How to Dance
Redlight Ranch
was wishin' You'd teach me how to dance real slow get up on the floor let's go Take me by the hand so the world will know that I'm your man Could you
The Rap Monument
Raekwon
of a master You never thought you'd be bodied by a bastard A bachelor who backspin on breakbeats Break necks of broke souls who hate me Hate he? you can't
Teach Me How To Love
EDUARD
lies Teach me how to love Teach me how to love No more lies No more lies Teach me how to love Teach me how to love And I have been waiting for you
Z 2 A
Better Promises
I won't let you stay Can you teach me to throw Ha It's time A lot True Blacked out the last 7 nights in a row how pathetic I've got a brother to be
Moves
Snoop Dogg
You Know I Know
2018
and teach me how to dance Slow down! DJ, play that track Check out my kung-fu kicks, like I'm under attack I wave my arms like this from front to back
Moves
Snoop Dogg
You Know I Know
2018
and teach me how to dance Slow down! DJ, play that track Check out my kung-fu kicks, like I'm under attack I wave my arms like this from front to back
Teach Me How To Dance
JLS
Jukebox
2011
If you want me to, I'll make a move I'll play by the rules, if I'd be you Part of me I ain't true or if I'm rude I just wanna love how you move!
Go down (feat.
Le Trigga & Triiga Ace)
Loochi bwalya
and you know daht You gatah pretty ass body let me touch if you don't mind (If you don't mind) Go down killer pon di dance flow give me slow wine killer Go
Rachel Greene
Heiressofthegame
the Keys Then I promise that I can teach ya How to slow dance How to walk on water How to let go of the past so you can have my daughter See all I need is
Just Dance
Colby O'Donis
The Fame
2008
're twirlin' up them hips 'round and 'round And now there's no reason at all why you can't leave here with me In the meantime stay and let me watch you break
Just Dance
Colby O'Donis
're twirlin' up them hips 'round and 'round And now there's no reason at all why you can't leave here with me In the meantime stay and let me watch you break
Just Dance
Lady Gaga
Contact: Play & Dance, Vol.
6
2008
're twirlin' up them hips 'round and 'round And now there's no reason at all why you can't leave here with me In the meantime stay and let me watch you break
Aquatic Mouth Dance
Red Hot Chili Peppers
a mother's tits But I don't know slow Someone has to come and teach me self-control Or should I just say, "Fuck it", and we go?
First Dance
Zach Gordy
in bed It's just you and I Can we slow dance on our wedding night It's all I've ever wanted So grab me by the hands Teach me how to dance I'm learning
4 Your Eyez Only
J. Cole
4 Your Eyez Only
2016
can be a part of you still, my pops was killed too So I know how part of you feels Maybe you hate me Maybe you miss me, maybe you spite me Life goes
Girl Can't Dance
Example
shaking your hips Slow down pretty, Girl can you dance? You might be witty, Now Girl can you dance? I'm glad your with me Now Girl can you dance? It's such
Hits in the Mix
DJ Bobo
The record is playing the crowd is moving Pump up the bass in the place Party people, no time to waste No matter how fast you walk I am faster Don't let me get
All Night
Josh, the Raptor
alright?" I grabbed her hand back, real tight If I kiss your ear then I'm gonna bite Baby come close let's hold tight I can't teach you how to slow dance But
Like You
K1ngt
Ayy shawty See you getting low Love it when your hips moving slow Let's see how far we can go I wanna know you girl Shawty See you getting low Love
Something Special
Riggins
Come feed me Tell that love me All night I want you to lie to me It all right Heard you got done wrong Baby let me treat you right Look me dead
Let Me Take You to Rio [Blu's Arrival]
Carlinhos Brown
Rio [Music from the Motion Picture]
2011
light girl, turn it on, here's mine, turn me on You gotta wild side, let it out, I'ma make you bring it out Shake it up fast, wind it up slow now(oh)
Dance Move
Fabolous
Mac & Cheese, Vol.
3
2013
shit do it justice Stand by while I bust this, you look like you does this Come and rub my head girl, teach me how to Douglas Do the money dance
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Nigel Westlake - Composer Interview with focus on Miss Potter
This interview was conducted by telephone on 4th January 2007, with Jim Paterson speaking to Nigel Westlake about his musical background and the (soon to be released) film Miss Potter which covers a key period in the life of Beatrix Potter.
An audio version of this interview is also available for download as an mp3 podcast (23Mb).
Musical Background
JP: The Miss Potter film and soundtrack is going to be released shortly in the UK. I've a number of questions about the music, but first I'd like to understand a little bit more about your musical background and how you came to work in film music.
NW: I began my musical career playing the clarinet. My father was the principal clarinettist in the Sydney Symphony Orchestra and he taught me to play from about the age of 10, and for many years I aspired to become an orchestral clarinettist and follow in his footsteps. In my mid-teens I started experimenting with composition, and became quite interested in the process of composing and its impact on my interpretation of existing classical music, namely the music I was studying at the time, that being the clarinet repertoire of great concertos and so on. I began to write little pieces for my friends to play, a very diverse collection of instrumentalists from jazz, classical and rock backgrounds.
We formed a band and we toured with the band for a few years along the East coast of Australia with some success. Through that experience I began to get invitations to compose music for Radio and Theatre and Circus, and by and by I became involved in film.
My mother found a little ad in the paper one day which she cut out to show to me, which was asking for applicants to sign up for the first ever music and film course at the Australian Film and Television School based in Sidney. I applied for it thinking that I didn't have a chance of getting in but I did, and my work was noticed by some producers who were involved in the course and I was subsequently invited to write for some documentaries. During this time I was maintaining a career as a clarinet player. So I had for quite some time a dual career existence as a composer of television and media music, and on the other hand a classical career as a clarinettist in various chamber music ensembles. It was about 11 years ago that my composition career eclipsed my playing career and I started to get some fantastic offers to write film scores.
But really it did interfere with my performing career, so at that point I began to concentrate fully on composition and I actually stopped playing the clarinet. So that's where I've come from. I'm a self-taught composer and gained a lot of my skills working as an instrumentalist with other instrumentalists, with a keen interest in contemporary music.
JP: That's very interesting. You say that you were self-taught but you did attend that course in Sidney.
NW: Well that was a short couse, about 8 weeks long, and it was more to do with the mechanics of fitting music with film. It wasn't a composition course as such but about applying music to film. I had as my tutor a brilliant American composer called Bill Motzing, who's been involved for many years now in a number of feature scores himself and more recently he's been doing a lot of teaching and orchestration for other composers. That was a wonderful introduction into music for film. I've also had a great opportunity to take my scores to other composers whose work I admire, and get them to commment on the work and give me feedback in a more informal situation.
So "self-taught" is a bit of a long shot, but it has been more an informal approach to composition.
JP: Yes, so you didn't study composition formally for 3 or 4 years at University. In your film music you mentioned a number of documentaries but, to my mind at least, you are most familiar as the composer for the Babe films.
NW: A lot of the documentaries I've done have been for lesser known television presentations, but more recently I've been involved in Imax films, which in a sense are documentaries. I've done 5 Imax film scores to date, and that's a wonderful format to work in which is very different to the standard drama feature film score.
Miss Potter - music box theme and song
JP: So going back to Babe then, the first Babe film was directed by Chris Noonan just like Miss Potter. Have you formed a particular close relationship with Chris?
NW: Yes, we formed quite a close relationship.
It was a very healthy composer-director relationship that we established on Babe, and we always said that we would look for another project to work on together. Chris has been very busy the last 10 years or so developing a number of film scripts, several of which he'll now be bringing to the screen over the next few years. But Miss Potter was one that he felt would be interesting for us to work on together, so I was invited to submit some ideas for this score. In fact one particular idea which is in the centre of the film is a very touching scene where Ewan McGregor who is playing the part of Beatrix Potter's publisher, Norman Warne, is taken up to Beatrix's bedroom one Christmas Eve in order for her to present him with a beautiful painting that she has done as a Christmas gift for him to show her appreciation for his support of her work, in the publication of her first children's book "The Story of Peter Rabbit". He notices in the corner of her room a little music box. He picks it up and it begins to play.
He says "Oh yes I know this tune which is "Let Me Teach You How To Dance"." He says he's a terrible dancer but the words are rather sweet. Beatrix says to him "Oh, you know the words. Can you please sing the words for me." and then Ewan proceeds to sing this song.
Chris rang me up several says before they were due to film this scene and said we've got this song and we haven't got a tune for it. I think I'd like you to write me a waltz in the style of the popular genre of the period circa 1890s. It should be very formal, very sweet like a parlour song. This was of course a new venture for me having never written anything like this before, but I quickly dashed off a tune and sent it through to Chris on email as an mp3 file, saying "is this the sort of thing that you want? And if it is I'll keep developing it to make it better for the shoot". He wrote back a couple of days later saying "Yes, we've shot the scene and the tune worked beautifully, thank you very much. Would you like to come to London and write the score? Because I think that this theme should be incorporated as part of the score of this film and you're obviously the person to do it.
So it was with great excitement that I packed up and moved to London for several months and worked very closely with Chris on the score. I had the wonderful opportunity to work in London with fantastic, top-of-the-tree session musicians. I had the great priviledge to work with people like Maggie Rodford at Air-Edel and of course Mike Batt and Katie Melua who came on board at the very last moment.
JP: So how did that happen? Were you involved?
NW: What happened was I got a call from Maggie a couple of days before I was due to leave London to return to Sidney, because the score had all been recorded and the job had wound up. Maggie said "Look, the producers are interested in turning the music box tune into some sort of pop song for the end credits." Of course my immediate reaction was "It's a waltz. When was the last time a waltz was like a popular song? Maybe 80 years ago or something." She said "I think you should give it a go, and I think the perfect person to work with would be Katie Melua, and Mike Batt.
" Of course I'd known of Mike Batt's work for many years, his work on the Wombles and his music theatre piece "The Hunting of the Snark". In fact my mother played in his orchestra when he toured to Australia with that show. She brought home a CD of his work and played it to me, saying here's a distinguished chap who's doing some good stuff. So I was really quite familiar with Mike's work.
So I went up to his studio one morning and he said "OK we've got the band booked at midday and the orchestra's coming in at three, and Katie's coming in at six, so where's the song?" I said "Well here's the music box tune. Basically we have to turn the lyrics around." Because in the film it's sung by a male: "Let Me Teach You How To Dance" a sort of patriarchal male gesture. In the case of Katie singing it, Mike turned the whole thing around and in 40 minutes and re-wrote the lyrics for this beautiful song "When You Taugh Me How To Dance". So that in a sense becomes the spirit of Beatrix Potter reminiscing on her early days, and her first romantic encounter with her publisher Norman Warne.
When I played it to the editor of the film, Robin Sales, he said it's just like Renee Zellwegger actually singing it in the style of Beatrix Potter as it encaptulates the spirit of it, the slightly eccentric, quirky yet warm spirit of Beatrix herself. And it happened in 12 hours!
JP: So no time pressures then!
NW: No, you know what it's like in film. So it was great to have Mike there. He works so closely with Katie and understands her voice. To write those lyrics so quickly, he's just a genius you know. That was great. We sent the finished tape along to the mixing session, and all the producers were absolutely overwelmed with the response. They were very excited by it, and so it becomes this prominent song at the end of the film.
JP: I've heard the soundtrack obviously, but I've not seen the film as it's not been released yet.
NW: As you'll see Jim that theme is a recurring theme throughout the score, and in a way it becomes Beatrix's theme that accompanies her through this labyrinth of emotional turmoil that is encapsulated within this six years that cover that period of her life.
Miss Potter - other aspects of the score:
JP: Other than this key theme then, what kind of direction did Chris Noonan give you? What kind of guidance?
NW: The score works on several levels. The other thing we spoke about in great detail was the fact that you're dealing with characters from the Victorian era, very straightlaced, people never said exactly what they were thinking. It was a very cloistered and repressive environment. All the time there's these deep emotional undercurrents underpinning the action on screen. You're not actually looking at that on the screen but you know that it's there because of the dramatic context of the work. So Chris wanted the music to take on this almost subliminal aspect, and try and support the undercurrents of the dramatic context that was happening between the various characters. So the score in some instances is working on that level, and then in other instances you've got the beauty and wonder of Beatrix's imagination, the creative spark that helps her create these wonderful characters in her books.
That in itself is another strand of the score, where a particular theme is used, orchestrated with celeste and harp to give a sort of magical quality to the work.
JP: As I've said I've not seen the film, but trailers from the film have been shown on TV, and some of the characters in the illustrations in her books are animated. Is there a lot of animation and did it require a special approach to the music?
NW: No, I'm not sure that I've seen that particular trailer but the characters only come alive for very brief moments and not very frequently. So more often than not there might be a very subtle musical reference to their actual movement when they're animated. It's more a case of the music supporting Beatrix's inner life, her fantasy world. So there's no great slabs of time where the characters are interacting with her. You only get the occasional blink of an eye or character running off a page or something like that. It's not an animation in that sense, in the traditional understanding of the word animation.
Certainly animation is used very effectively but very subtly as part of the film. It wasn't like working on a cartoon.
JP: Yes. It's sometimes hard to get the impression of what a film's like from a trailer because it emphasises particular moments. The other thing I wanted to ask you about is that Rachel Portman is credited with 3 of the tracks on the album. How did that come about?
NW: That was a directive from the producers. They felt that she had a certain approach that was appropriate for several scenes in the film. So it came to be that she wrote a theme which is used on a number of occasions for Beatrix's involvement in the Lake District. Towards the end of the film Beatrix moves to the Lake District and buys up a lot of farm land up there and becomes very attached to this place, because that's one of the great heritages of her life as she left all this land in its original condition to the British people. So it was seen as appropriate that Rachel become involved.
I guess she had a particular approach or sound that they were looking for, so she wrote a few tracks for the film.
JP: It seems to blend quite well together on the CD.
NW: That's good, I'm glad you said that, Jim. We didn't actually collaborate at all, we were working quite separately. She was being supervised by producers so I wasn't really sure what they were up to. She had been listening to my score when she started work on the film, so she followed a very similar pattern in orchestration.
JP: Yes, that's right, the instrumentation is obviously very similar, just strings and woodwind with piano, and you mentioned harp and celeste.
NW: Yes, that's right. We had pretty much an identical orchestra between us.
JP: Were there any other aspects of the film that you saw as being key to the music, or particularly difficult to score.
NW: I guess the most challenging aspect of the score was dealing with transitional passages in time.
For instance there's one track on the score which is track 9 on the soundtrack which is "Beatrix and Norman", which is basically establishing Beatrix's relationship with her publisher. She is forbidden to marry him by her parents because he is seen to be a tradesman and beneath them. So the parents say we're going on a vacation for 6 months. If at the end of that time you still love him then you can proceed and get married. There's this wonderful scene, a big romantic emotional peak of the film where he comes to see her off at the station on her way to the Lake District for her vacation. As you'll see in the picture this has to traverse some very interesting, emotional moments, and either side of that railway sequence is a bunch of footage of Beatrix and Norman together. That was quite difficult to make those transitions between those quite intimate scenes and then lightening up into a larger orchestral palette for the farewell at the station and situations like that. Once I had the thematic material at my finger tips it was then a matter of fitting it to picture and making those transitions seemless and as effortless as possible which is always a challenge.
So that was the most challenging aspect of it.
Next Steps:
JP: I'll look out for that scene in the film when it comes out. So what's next for you musically. Have you got other projects lined up, or maybe you're already in the middle of some projects?
NW: Yes I've got many things lined up over the next couple of years, several orchestral commissions for local orchestras here in Australia and some chamber music works. And I'm looking at a few film scripts at the moment, one of which is with Chris Noonan again, based in South Africa, a film called called Zebras. This is a very exciting script, and he's going into pre-production shortly on that one. It will involve a lot of traditional African music as well as orchestral underscore. So I'm very excited about that. We'll see if that comes off, you know how it is with films: You never know until it's actually in the can. So plenty of work which is great.
JP: I think we're coming towards the end of our allotted time, I want to thank you very much for your time.
It's been very interesting listening to you and I'm looking forward to seeing the film when it comes out.
NW: Great, Jim, great to talk to you and I hope you enjoy it.
JP: Thanks very much and best wishes on those future projects that you talked about including Zebras.
NW: Thanks very much, Jim, and best wishes to you also.
JP: Thanks very much and goodbye.
"Dance of the Future"
Movements taught by the ballet school of our days, movements that vainly struggle with the natural laws of gravity, with the natural will of the individual and are in deep contradiction both with the movements and with the forms created by nature - these movements they are essentially barren, that is, they do not give birth with the inevitable necessity of new future forms, but die in the same way as they came into being. The expression that dance has found for itself in ballet, where actions always break off suddenly and find their death in themselves, where neither movement, nor posture, nor rhythm are born in a causal connection from the previous one and, in turn, are unable to give impetus to a causal action, - is an expression of the degeneration of all living things.
All the movements of the modern ballet school are fruitless movements, because they are unnatural, because they strive to create the illusion that the laws of gravity do not exist for them. The initial, or basic, movements of the new art of dance must carry in themselves the germ from which all subsequent movements could develop, and those, in turn, would give rise in endless perfection to all higher and higher forms, the expression of higher ideas and motives.
To those who still derive pleasure from the movements of the modern ballet school, to those who are still convinced that modern ballet can be justified by any historical, choreographic or other motives, I will say that they are not able to see beyond the ballet skirt and tights. If their gaze could penetrate deeper, they would see that unnaturally disfigured muscles move under skirts and tights; and if we look even deeper, then under the muscles we will see the same disfigured bones: an ugly body and a twisted skeleton dances before us! They were disfigured by unnatural dress and unnatural movements - the result of teaching and education, and for modern ballet this is inevitable.
After all, it is based on the fact that it disfigures the naturally beautiful body of a woman! No historical, choreographic or other grounds can justify this. Further, the task of all art is to serve as an expression of the highest and best ideals of man. Tell me, what ideals does ballet express?
Dancing was once the most noble art, It must be so again. He must rise from the bottom to which he sank. The dancer of the future will rise to such a height of perfection that she will become a guiding star for other arts. To artistically depict what is most healthy, beautiful and moral - this is the mission of the dancer, and I will devote my life to this mission.
My flowers also make me dream of a new dance. I would call it: "Light pouring on white flowers." This dance would have sensitively conveyed the light and whiteness of the flowers. It would have conveyed it so purely, so strongly that people who saw it would say: “Here is the soul moving before us that saw the light, the soul that felt the whiteness of the white color.
” “Thanks to her clairvoyance, we are filled with the joy of the movement of light, cheerful creatures.” “Through her clairvoyance, the gentle movement of all nature, recreated by the dancer, flows into us.” “We feel the vibrations of light merge in us with the representation of sparkling whiteness.” “This dance should become a prayer! Each of its movements must raise its vibration to the very sky and become part of the eternal rhythm of the Universe.
How to teach a child to dance at home
Dancing is a fun and positive activity that has absolutely no age restrictions. Already in the first year of their life, babies make their first dance movements to the music - they clap, squat, stomp their feet. As children grow older and develop motor skills, they are able to master more and more complex elements of dance, but for this they need the help and support of their parents.
We stimulate the desire to dance
Noticing a preschooler's interest in dancing, mothers and fathers try to develop it and, as a rule, enroll the child in classes at dance studios.
Moreover, many parents simply do not know how to teach their child to dance at home on their own, so they prefer to leave it in the hands of experienced coaches. Such a decision is logical and rational if you want to "grow" a professional dancer out of your baby. In most cases, namely for general development and just pleasure, classes with a child of 3-6 years old can be carried out at home.
Parents need to remember and understand that dance is, first of all, a way of self-expression. An impromptu free dance reflects the characteristics of a person’s character, his temperament. Each child dances in their own way: someone jumps rhythmically to the beat of the music, someone modestly shifts from foot to foot, and someone demonstrates original movements. The task of parents is not to "reshape" their baby's dance style, but to help him develop his potential and become liberated, if necessary.
Moms and dads do not need to schedule classes with the baby - the beauty of home dancing is that you can do it at any time.
Heard a rhythmic song on the radio - dance, clean the house to the music - find time for dancing. With a child of 3-4 years old, it is not even necessary to learn specific dances, because. at this age, it is enough to simply develop general musicality, plasticity and a sense of rhythm.
It is very important to decide on the choice of musical material that stimulates the child's desire to dance. Watch the baby's reaction to individual songs - some compositions will make him feel sad, and some will lift him up and make him dance.
Easy to Hard
Preschoolers soak up input at an incredible rate, so don't be surprised if you see your toddler meticulously copying dance moves from a recent video clip. Children are open to new knowledge and skills, but it will take some time to master them. If a child fails to reproduce the dance he likes, it is necessary to support him and help him learn the movements. This should be done gradually, without pushing and, moreover, without criticizing the baby.
Some parents are in a hurry to choose the right dance style for their child right away. Moreover, the decisive factor is usually the personal preferences of mom and dad, and not the desire of the baby. It is important to understand here that dancing is creativity and a way of self-expression, so the right to choose still belongs to the child himself. Perhaps the kid does not want to limit himself to one style at all and dances, rather, for pleasure, and not to achieve a certain result.
The process of teaching a child to dance should be exciting, presented in a playful way. You can start with improvisations - just turn on the music, dance yourself and invite your baby to join you. Already at this stage, it is possible to assess the general potential of a preschooler, as well as the degree of his enthusiasm and sense of rhythm. Gradually move on to learning easy dance moves:
- turns;
- jumping;
- steps;
- handclaps;
- inflows;
- rocking from side to side.
For an adult, such elements seem very simple, but children aged 3-4 years have to work hard to perform them correctly. Be sure to demonstrate all the movements yourself and encourage the baby, even if he does not perform them quite confidently.
Gradually begin to "tie" the individual elements into a dance - combine them using stomps and claps as transitions. Learning even such easy dances develops the attention, memory and coordination of the child, which is very important at preschool age. The main thing is not to get hung up on the quality of movements and let the baby enjoy the process.
And a few more tips for parents helping their child learn to dance:
- Encourage your child to dance . Give compliments, praise, but do not overdo it - a few words of praise will be enough to cheer up the baby.
- Choose dances that suit your child's temperament . It is difficult for active and restless children to concentrate while performing a waltz, and moving dances are not easy for calm and relaxed children.
