10:35 (Lyrics, chords)-Tiësto, Tate McRae

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Quality ⭐⭐⭐⭐⭐

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Artist | Tate McRae & Tiësto,

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Similar | Olivia Rodrigo, Billie Eilish, Harry Styles, Zara Larsson, Sabrina Carpenter, sombr, Alex Warren, Djo, David Guetta, Chainsmokers, Alan Walker, Calvin Harris, Marshmello, Lost Frequencies, Glass Animals, Diplo, 070 Shake, Chase Atlantic, Imanbek, ZEDD, Bahari

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Genre | EDM

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Score | Piano Lyrics Chords

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Hi, I am Rita. I transcribe piano scores for pop music with minimal technical demand as close to the original as possible. Sheet music for songs have lyrics and harmonic chords on.

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🎹 It is a score for solo piano with no significant technical difficulties. Original lyrics and harmony chords are included in the sheet music.

💽 I added an mp3 file as well.

⚡A twelve-note scale and metered sheet music are not capable to express the sound of “10:35 (feat. Tate McRae)” with its layered vocal and digitally generated inflections. In the genre of EDM, the emphasis is on aspects of rhythm, whereas aspects of harmony or pitch are not that relevant.

🗝️ The track is transcribed in the original key B Flat Minor, and uses a mix of major and minor chords. A chord change marks time and musical structure rather than creates a meaningful harmonic pull.

🙅🏼 Avoid learning both hands together; you will fail immediately and abandon the score. Add fingering where needed.

"10:35" has a hook with hard swing feel (ratio 3:1, a dotted eighth note + a sixteenth note). This rhythm provides a simple melody with energy. It is hard to count for beginners so practice "10:35" slowly and play along with the recording.

To keep listeners attention, the chorus was made to be the biggest part of a song.The first and second verses/choruses are different: the vocal line was gradually stripped down of echoes by Tiësto. If some notes prove too difficult to play, simply omit them focusing on emotions instead of sightreading.

"10:35" is a song with a homophonic arrengement — the instrumental part provides a harmony to support the vocal but lacks its own melody. The melody is confined to remain exclusively in the uppermost voice.

Vocal in the original track is relatively rigid but not precisely timed and has subtle bends and slides that are impossible to convey on piano with a fixed pitch of the keys. All slurred notes are vocal bends and to should be barely heard.

The last bar with the tonic chord is added by me. Modern commercial music doesn't resolve on tonic to push a listener to repeat the track on a streaming service.

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