How to Write a Song About Dance Competitions

You want a song that makes judges look up and audiences lose their minds. Maybe you are writing for a dancer who needs a killer audition piece. Maybe your track will soundtrack a viral routine. Maybe you just want a club ready anthem that shouts competition energy. This guide covers everything you need from story to production while keeping the process fast and fun.

We write for people who want results. No vague theory that reads like a lecture. You will get concrete lyric ideas, melody strategies, rhythm options, arrangement maps, and performance notes that actually help dancers and artists. We will explain every term so you always know what the heck we mean. Expect relatable examples, real life scenarios, and a little bit of chaos in the best possible way.

Why a Song About Dance Competitions Works

Dance competitions are a natural song subject because they are intense snapshots of hope, ego, and sweat. A song about competition can live in many moods. It can be triumphant, savage, vulnerable, or hilarious. The core promise of the song should be obvious on first listen. Are you celebrating the win, narrating the grind, or mocking the drama in the judges area? Pick one promise and build everything around it.

• Clear emotional promise Make your single sentence that explains the feeling. Example: I will take the stage and never look back.
• Strong rhythmic identity Since dance is all about movement, the beat must be hands down irresistible.
• Specific scenes Judges table, stage lights, props, rehearsal snack bar. Put the camera on small objects and actions.
• High contrast Low stakes versus high stakes moments give your listener a ride. Contrast is song currency.

Pick a Point of View

Decide who tells the story. The voice you choose will affect language and detail.

First person

Best when you want intimacy. This feels like a dancer speaking into camera. Use sensory details and present tense action to create immediacy. Example: I lace my shoes so tight the laces forget how to be gentle.

Second person

Addresses the audience or another dancer directly. Great for coaching an underdog or daring a rival. Example: You take the center and the lights forget the rest of the room.

Third person

Narrator watches the event. Useful for comedic distance or epic storytelling. Example: She waits in the wings with the luck of lost coin clutched in her fist.

Find the Core Promise

Write one sentence that nails the song concept. That sentence will become your title candidate and your chorus thesis. Say it like a text to your friend. No flourishes. Keep it punchy.

Examples

• I came to win and I learned how to fall.
• We rehearse until our names sound like timing.
• They clap when I end and not because I asked.

Turn one of those into a chorus line and build outward. If the core promise is snappy it will survive bad production and still be sticky in a bus gig or a TikTok clip.

Choose the Musical Direction

Dance competition songs can come from many genres. Choose one that matches the routine you imagine and the audience you want.

• Pop anthem For mainstream competitions and viral routines. Think bold chorus and clear hook.
• EDM Electronic dance music. Great for routines that need drops and big builds. EDM stands for electronic dance music.
• Hip hop Use for choreography with attitude and punchy phrasing. Strong groove and room for rap or spoken lines.
• Electro pop or synth wave For moody cinematic routines with retro flair.
• Musical theatre style If you want narrative with character beats and a climactic showstopper moment.

If you do not produce the track yourself, pick a genre and include references when you send a brief to a producer. Give them one example song for mood and one for groove. That saves everyone time.

Tempo and Rhythm Choices

Tempo matters more than most songwriters think for this subject. Dancers need places to breathe and places to hit. Here are practical BPM ranges and what they support. BPM stands for beats per minute. That is a measure of how fast the pulse of the song is.

• 70 to 90 BPM Slow to medium. Best for lyrical contemporary routines or dramatic solos. Allows for extended poses and slow motion faces.
• 90 to 110 BPM Medium. Good for lyrical with pockets of attitude. Works for modern jazz and slower hip hop.
• 110 to 130 BPM Up tempo. Great for competitive jazz and pop routines that still need clean footwork.
• 130 to 150 BPM Fast. Best for energetic tap, competitive commercial choreography, or EDM style routines with quick technical work.
• Above 150 BPM Very fast. Use only when dancers will be performing short bursts of high speed or when the arrangement includes half time sections for breathing room.

Pro tip: build half time and double time moments into the arrangement. That allows choreographers to push the same beat for both slow and fast feels. A half time section means the rhythm feels twice as slow even though the BPM is unchanged. This trick gives dramatic contrast without changing the song speed which saves the dancers from adjusting for tempo changes mid routine.

Structure That Shows vs Tells

Structure your song so each section adds a new camera angle on the competition story. Use the chorus to state the promise. Use verses to add details that make the promise feel earned. Use the bridge to reveal a secret or change the emotional stakes.

Reliable layout

Verse, Pre chorus, Chorus, Verse, Pre chorus, Chorus, Bridge, Final Chorus. The pre chorus is optional but useful for tension. The bridge is your emotional shift. Keep everything concise. Dancers and editors love sections that are predictable enough to cut to but interesting enough to keep watching.

Hook and Chorus Design

The chorus is the thing a judge will hum on the drive home and the thing a choreographer will loop for counts. Make it simple to sing and easy to hold. Aim for a title that repeats and a line that maps to a physical move.

Chorus recipe

1. One short sentence that states the promise.
2. A repeating tag or phrase that can be counted. Example: One two three, take the stage.
3. A final line that adds consequence. Example: I leave the lights with my name in smoke.

Example chorus

I come for the stage I come for the sound I come to make the whole room count me out and then count me in

Notice how this chorus offers repetition and a rhythm that choreographers can map to counts. The phrase count me out and then count me in is a little bit theatrical and gives a physical motion the dancers can sell.

Lyrics That Look Like Movement

Write lyrics like you are staging a shot. Replace abstractions with actions and objects. Judges do not score feelings. They score execution. That means your lyrics should give dancers something physical to sell.

Show do not tell

Before: I feel nervous before the stage.

After: My knuckles taste like chalk. The wristband reads twelve and I practice the ending three times.

Use specific props and micro actions. A water bottle, a stubborn sequin, a ripped sleeve, a timer app that blinks practice time. These details anchor the scene and make the emotion true without naming it.

Stakes language

Make the consequence clear. What happens if the dancer fails? What is gained if they win? A title like All Night For One Trophy works because the trophy is visual and the phrase implies sacrifice.

Lyric Devices That Hit Hard

• Countdown Use numbers in the lyrics for literal counts. Numbers are easy to choreograph to. Example: Three two one I open my hands.
• Ring phrase Repeat a short line at the start and end of the chorus. It becomes an earworm and a choreo motif.
• Callback Reuse a line from verse one in the final chorus with one altered word to show growth.
• List escalation Three items that get more dramatic. Example: Sneakers, sweat, spotlight.

Prosody and Delivery

Prosody means aligning natural speech stress with musical stress. You want the strong words to land on strong beats. Say the lines out loud at conversation speed. If the natural stress does not match the music you will create friction that sounds off even if the words are sharp.

Example prosody check

• Line: I am ready for the judges
• Natural stress: reaDY and JUDges
• Fix: Put the word judges on a downbeat or a long note. Or rewrite to The judges learn my name on cue

Also consider syllable density. Dancers need silence to land. Do not cram every line with too many syllables. Use rests as punctuation. One beat of silence can be more powerful than two extra words.

Melody Ideas and Topline Workflows

If you are writing melody on top of a beat or producing the track yourself, use a fast topline method to find a hook.

1. Create a loop of the essential beat and chord for one minute.
2. Sing on vowels for two minutes and record. This is called a vowel pass. Mark any repeated moments that feel right.
3. Clap the rhythm that felt best. Count the syllables and make a rhythm map. This will help when you add words.
4. Place your title on the most singable note and make it repeat. Keep the melody shape simple so dancers can mime it with their bodies.

Use melodic leaps sparingly. A single leap into the chorus title is dramatic. Too many leaps make the line hard to sing and hard to choreograph. Stretch vowels on the chorus so dancers can hold a pose while the note stays long.

Harmony and Chord Ideas

Simple progressions are fine. For songs that will be looped during practice pick a progression that anchors the hook.

• I V vi IV This is a classic pop progression. It supports catchy melodies and is easy for producers to build around.
• I vi IV V Similar but with a different uplift. Use this for more anthemic choruses.
• Minor key with a borrowed major chord Borrow one major chord in the chorus to give a sudden lift. This trick makes the chorus feel victorious.

Explain the terms. Roman numerals are a way to describe chord function. I means the home chord. V means the dominant chord that pushes back to home. vi is the relative minor. You do not need to be a theory nerd to use them. Use these as templates for mood and movement.

Arrangement Maps to Steal

Here are arrangement maps tuned to common competition moods. Each map suggests which instruments or sounds to add and when to leave space for choreography.

Anthemic competition map

• Intro with a percussive count in and a vocal tag
• Verse with sparse drums and piano or pluck to leave space for breath
• Pre chorus with rising pads and rhythmic snare to build tension
• Chorus with full drums, brass or synth stab, and layered vocals
• Second verse keeps some chorus energy to avoid losing momentum
• Bridge strips back to voice and one instrument for vulnerability
• Final chorus adds gang vocals and a partner hook for the last run

EDM competition map

• Intro with atmosphere and a vocal chop as a motif
• Build with risers and snare rolls to a drop
• Drop with a heavy bass and rhythmic synth for the main dance moment
• Post drop with a chant or a repeated tag for crowd participation
• Breakdown with minimal elements for a dramatic pose
• Final build into a double drop for the last big run

Production Notes for Dancer Friendly Tracks

Production choices affect performance. If you are making the track for live competition performances keep these in mind.

• Clear counts Use a percussive click or count in where choreographers expect counts like eight or sixteen. A clear count helps teams hit choreography on the floor.
• Space for cues Leave tiny gaps at phrase ends where dancers can reset or do a dramatic freeze.
• Mix for clarity Vocals should sit on top unless the choreography is purely instrumental. If the routine relies on beats for hits, keep the kick loud and punchy.
• Use stems Deliver stems to choreographers if possible. Stems are separate audio files like vocals only or drums only. Stems let teams mute or emphasize parts during practice.

Explain stems: A stem is an isolated part of the mix. If you give a stem with drums only the choreographer can loop that for counts. Stems make life easier for everyone.

Writing For Specific Competition Moments

Break the routine into logical moments and write lyrics and music to match each one. Here are common moments and songwriting ideas.

Opening pose

Short intro with a vocal tag or a beat hit. Keep it dramatic. Use a single line like Watch us and then go into the verse. The opening should allow a freeze without audio clutter.

First run

Fast phrasing, high energy. Short lines, aggressive consonants. Make sure the beat has room for footwork.

Emotional break

Strip instruments. Place a vulnerable line that exposes the dancer. Use it for a slow lift or a dramatic solo turn.

Final run and finish

Build energy into the final chorus. End with a short vocal tag or a laugh. The finish should be clean so judges can score endings and so ears do not fight the impact of the last move.

Examples: Lines Before and After

We will take simple ideas and edit them into stronger choices you can use or rework.

Theme: The lead wants the trophy more than sleep.

Before: I practice every night and I want to win.

After: My nights taste like coffee and unforgettable steps. I learn the ending on repeat until the trophy remembers my name.

Theme: A dancer steals the moment from a rival.

Before: I out danced them and they were surprised.

After: I fold the last beat into a grin and watch their jaw misplace itself on the floor.

Theme: Pre performance anxiety.

Before: I am nervous before I go on.

After: My pulse practices choreography under my skin. I breathe three times and the stage forgives everything else.

Writing Exercises Tailored to Dance Songs

Use these timed drills to produce usable material fast. Each drill is designed to give a choreographer or dancer something they can immediately practice with.

• Count in drill Write a chorus where the first line is a clear count of eight. Ten minutes. Example: Eight to the left eight to the right, one two three and the lights ignite.
• Prop drill Pick a random prop you see right now. Write four lines where the prop appears in each line and performs a different action. Ten minutes. This yields concrete images and stage cues.
• Bridge reveal drill Write a short bridge that changes the emotional stakes. Five minutes. Use the bridge to state a secret or a turning point.
• Hook swap drill Take a chorus hook and rewrite it with one word changed each time. Five minutes. This gives small options for choreography leaders.

Collaborating With Dancers and Choreographers

Songwriters who work with dancers get better results faster. Here is how to make collaboration smooth and useful.

• Share a rough demo A 90 second loop is usually enough. Dancers will start spotting counts and imagining moves.
• Ask for counts Ask the choreographer what counts they want highlighted and which phrases they want to loop.
• Be flexible If a choreographer asks for more space in bar 16 give it. A one beat rest is a powerful negotiation tool and it makes your song stage ready.
• Deliver stems If possible, provide stems for practice. Stems let choreographers isolate timing and recycle interesting parts into sections for training.

Pitching Your Song to Dance Productions

If you want your track used in showcases and competitions you need a simple pitch kit. Keep it short and visual.

• One page brief Include the mood, the BPM, suggested counts to loop, and a short video reference of choreography that fits.
• Two minute demo The first minute should have the main hook visible. Choreographers do not want to dig through long tracks.
• Stems and edits Offer an edit with extended beats and a version with vocal only so editors can cut for highlight reels.
• Clear licensing notes Say if you want to be paid for sync or if you allow free use for certain showcases. If you are unsure talk to a music lawyer or a manager.

Explain sync: Sync means synchronizing music with moving images. If a dance team wants to post a routine online they may need permission from the rights owner. Providing clear licensing guidance speeds up approvals and prevents headaches.

Performance Tips for Vocalists Singing Live for Competitions

If your song will be performed live, prepare the singer to match the energy of dancers and to give judges what they score.

• Time the phrasing Sing with counts. Work with the lead choreographer to know exactly when a step will land and when the singer should hold a note or cut it for a freeze.
• Microphone technique Use a headset mic for dancers who need to do hands free moves. A handheld can look dramatic but limits mobility.
• Watch the stage Singers should practice where they will stand so they do not block sight lines or hit a dancer during a lift.
• Rehearse cuts Live shows are messy. Rehearse stopping and restarting if the band misses a cue. Simulate the worst case and build fixes into the performance.

Common Mistakes and How to Fix Them

• Too much lyric in a chorus Fix by removing filler words. Make the chorus easy to loop for choreography.
• Vague imagery Fix by adding one concrete object or action per line.
• Tempo that hurts performance Fix by testing the BPM with the performers. If dancers cannot hit the movement cleanly lower the BPM or design a half time feel.
• Over produced intro Fix by simplifying the opening so dancers can establish a pose and judges can hear the count.

Real World Scenarios

These are three real life scenarios and how to approach the song in each case.

Regional competition video package

They need a 90 second highlight. Write a chorus that contains the emotional promise and a verse that supports it. Produce an edit that loops the chorus for the final 30 seconds so editors can cut clean footage without audio gaps.

Solo contemporary routine for a dancer who wants to show emotion

Use lower BPM, intimate production, and lyrics with sensory detail. Make the bridge reveal something personal. Keep the arrangement sparse so judges can hear breath and internal timing.

Large company routine for a televised showcase

Make the production big. Add gang vocals and brass or synth stabs. Design DJ friendly drops for stage changes. Provide stems to the director and offer an instrumental only version for curtain calls.

Songwriting Checklist Before You Deliver

1. Title states the emotional promise in simple language.
2. Chorus is easy to sing and has a repeating tag.
3. Verses include at least one concrete object and an action each.
4. Arrangement includes a count in and a clear final tag for endings.
5. Stems and a short loop edit are prepared for choreographers.
6. Tempo tested with dancers or with a metronome to confirm feasibility.

Examples You Can Rip Off and Make Better

Model these short templates. Fill in your details and make them yours.

Template 1 Chorus

Count to eight and tear the lights away Count to eight and let the floor decide Tonight I give my name a new sound Tonight I leave a footprint and a crown

Template 2 Verse

The backstage mirror lies awake I smell rubber shoes and peppermint I fiddle with a ripped sleeve like a promise I learned to hold the end until it fits

Template 3 Bridge

They say talent is the same as luck I say luck is practice with a stubborn heart I trade my fear for a tiny rehearsal applause and walk back to the line

FAQ

What tempo works best for a dance competition song

There is no one perfect tempo. Pick the BPM based on the routine style. Slow emotional routines sit around 70 to 90 BPM. Technical jazz and pop routines are often 110 to 130 BPM. EDM style runs can go up to 150 BPM. Always test the tempo with choreography or a metronome. If performers are gasping by bar two the tempo is too fast. If they are standing still waiting for a hit the tempo may be too slow.

How long should the song be for a competition performance

Most competition routines last between 90 seconds and three minutes. Check the event rules. Make sure your song has a clear start and end and provide an edit that matches the required length. For highlight reels prepare a 60 or 90 second edit that contains the main hook and a usable ending tag.

Do dancers prefer vocal tracks or instrumentals

It depends on the routine. Vocals help with narrative routines and theater pieces. Instrumentals can give choreographers more room for emphasis and counts. If in doubt provide both and a stems pack so teams can build what they need.

How do I make my song easy to choreograph to

Give clear counts, use repeating tags, and leave space at phrase ends. Use percussive elements to mark beats that dancers will use as anchors. A clean mix and a stem pack with drums isolated will increase the chance your song gets used.

What if my song is too long for a routine

Make a formal edit with section markers that show where a choreographer can cut. Provide a 90 or 120 second radio edit and a full version. Editors love options. Keep the edit musically tidy so critical beats do not get lost in the cut.