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(J Lo!
The oth er side...)
It’s a new gen er a tion (Mis ter World Wide!)
of par ty peo ple.
(Get on the floor, dá le.
Get on the floor.)
Let me in tro duce you to my par ty peo ple in the club,
huh.
I’m loose, loose, and ev ’ry bod y knows I get off the train.
Babe, it’s the truth, it’s the truth, I’m like “In cep tion”, I play with your brain, so I don’t sleep or snooze, snooze.
I don’t play no games but don’t don’t don’t don’t don’t get con fused, no, ’cause you will lose, yeah.
Now, now pump p pump, p p p pump it up and back it up like a Ton ka truck, dá le.
If you go hard, you got ta get on the floor.
If you’re a par ty freak, then step on the floor.
If you’re an an i mal, then tear up the floor.
Break a sweat on the floor, yeah, we work on the floor.
Don’t stop, keep it mov ing, put your drinks up.
It’s Pick your bod y up and drop it on the floor.
We Let the rhy thm change your world on the floor.
You know we’re run ning sh*t to night on the floor.
Bra zil, Mo roc co, Lon don to I bi za.
Straight to L.
A., New York, Ve gas to Af ri ca.
Dance the night a way, (C)live your life and stay young on the (G)floor.
(Em)Dance the night a way, (C)grab some bod y, drink a lit tle (G)more.
(Em)La la la la la (C)la la la la la la la la (G)la.
To night we gon’ be (Bm7)it on the floor.
(Em)La la la la la (C)la la la la la la la la (G)la.
To night we gon’ be (Bm7)it on the floor.
I know you’ve got it, clap your hands on the floor, and keep on rock ing, rock it up on the floor.
If you’re a crim i nal, kill it on the floor.
Steal it quick on the floor, yeah, we work on the floor.
Don’t stop, keep it mov ing, put your drinks up.
It’s get ting ill, it’s get ting sick it on the floor.
We nev er quit, we nev er rest on the floor.
If I ain’t wrong, we prob ’bly die on the floor.
Bra zil, Mo roc co, Lon don to I bi za.
Straight to L.
A., New York, Ve gas to Af ri ca.
Dance the night a way, (C)live your life and stay young on the (G)floor.
(Em)Dance the night a way, (C)grab some bod y, drink a lit tle (G)more.
(Em)La la la la la (C)la la la la la la la la (G)la.
To night we gon’ be (Bm7)it on the floor.
(Em)La la la la la (C)la la la la la la la la (G)la.
To night we gon’ be (Bm7)it on the floor.
(Bm7)it on the floor.
That ba donk a donk is like a trunk full of bass on an old school Chev y.
Sev en tre donk a donk.
All I need is some vod ka, some chunk a coke and watch the peo ple get Don key Konged.
Ba by, if you read y for things to get heav y, I get on the floor and act a fool if you let me.
Don’t be lieve me?
Just vet me.
My name ain’t Keith, but I see why you sweat me.
L.
A., Mi a mi, New York.
Say no more, get on the floor.
(Bm7)it on the floor.
(Em)La la la la la (C)la la la la la la la la (G)la.
To night we gon’ be (Em)it on the floor.
This page shows “On The Floor” by Jennifer Lopez in our color-coded kid songbook view — every note is colored by pitch (red C, orange D, yellow E, green F, blue G, purple A, pink B) and the lyrics sit directly under each note, so children can sing along while they play. The song is in the key of G at 130 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to build your confidence with minor seventh shapes — that Bm7 chord asks you to stretch a bit more than the standard triads you'll cycle through with G, C, and Em, so isolate it early and get the hand shape memorized before you try full run-throughs. At 130 BPM the tempo is driving, and your left hand plays a block bass pattern, which means you need rock-steady timing rather than fancy movement — practice that hand alone with a metronome at around 100 BPM first, then nudge it up in small increments. Watch the transition from Em to Epow (the power chord voicing): it's a subtle shift that's easy to fumble if you're on autopilot. The trickiest stumbling point is rushing through the Bm7-to-C change, so loop just those two bars slowly until the motion feels automatic. Once everything clicks, this song will seriously solidify your ability to lock into a rhythmic groove while managing five distinct chord shapes — that's a skill that transfers to dozens of pop tunes you'll tackle next.