4. Performance: Elements to Consider when using Beatboxing with a Group

            In the performance of beatboxing or vocal percussion in choral music, participants identified voicing, balance, consonants, rhythm and breathing, beatboxing warm-ups, and the use of microphones, as important elements to be considered in vocal production in an ensemble. 

4.1 Voicing

            In the establishment of a vocal ensemble, there are many choices that can be considered, such as: number of voices, the type of voice (male, female, mixed), and accompanied or a cappella.  In this study, the vocal ensembles ranged from 2 to 10 group members.  The type of voicing consisted of female only, male only, and mixed.  All groups sang a cappella, except one group that also performed selections with the accompaniment of a guitar.  Three ensembles had a human beatboxer, and all five vocal groups sang repertoire that required members to use vocal percussion.

            The loss of a voice was brought up as a concern when using of vocal percussion or beatboxing.  Two vocal ensembles highlighted that vocal percussion is not a tone and resulted in a thinner layer of sound from the loss of a pitched voice.   Contrary to this statement, the member of this vocal ensemble stated:

            I was sitting there with nothing to do.  I had just begun beatboxing, so I started beatboxing along and singing the song, singing the

            parts I would usually sing but putting in a beat everywhere else (Beatboxer 2).

            Vocal ensembles also noted that the use of beatboxing or vocal percussion was physically demanding on the voice, requiring a tremendous amount of endurance.  One member of a vocal ensemble stated:

            Using vocal percussion is very strenuous, especially in one of pieces that we are doing which is approximately five minutes

            long (Vocal Ensemble 5).

            The choice of using a human beatboxer or selections requiring vocal percussion is a question that a vocal ensemble.  The voicing of the group may require an additional member designated as the beatboxer, a member within the group that can beatbox for a selection, or the group may consider to rearrange the piece to have percussive elements performed by the whole ensemble.  This composer commented:  

            As we have learned here.  You can be part of a vocal group as a singer/beatboxer, you can be part of a group as a single beatboxer,

            or you can do the percussions with your mouth as a group of singers.  So you never know where it will go?  Everybody has a little bit

            of a different style of doing things (Composer 5).

 

4.2 Balance

            Balance was identified as an important aspect in the vocal ensemble.  The texture of lead melody, background vocals, and percussive elements need to blend into one sound.  Members of the ensemble need to be aware and listen for the balance of percussive sounds versus the vocals (Vocal Ensemble 5).  When percussive elements are used, the primary focus is to move the music forward while maintaining a balance sound (Vocal Ensemble 3).   This composer noted:

             In a cappella singing, everything is about balance.  Vocal percussion can sort of stick out of the balance.  The purpose is to move

             the piece forward.  It is mainly about consonants, that are sort of percussive and they all have different energies (Composer 4).

 

4.3 Consonants

            In vocal percussion and beatboxing, the use of consonants is primarily used to create sounds that emulate the guitar, piano, and drums.  The emulation of instruments in a cappella collegiate music is rooted in the traditions of the doo-wop style, however the reproduction of sound with the voice has been around for a long time.  This composer commented:

            Doo-wop has been around for a long while and we have always been making these sounds with our voices, as well the roots of making

            sounds has been around for over 40,000 years (Composer 2).

            In the emulation of instruments with the voice, participants identified that sound production requires pressure to emphasize the sound.  This technique becomes increasingly challenging in larger ensembles.  According to one composer, choirs would need to be taught the correct pronunciation to produce the consonants clearly.  Participants also stressed the need to develop a crisp, clear sound that has a similar timbre in the ensemble, as well as the instrument that is being imitated.  This beatboxer noted the importance of evolved sounds to keep time: 

            It is the question of, are the sounds well evolved to go with more difficult tasks.  If your sounds are sloppy and not well built up, if it is

            not tight, you will always lose time in your rhythm and then you are not able to go on to learn more difficult things because you will

            never be able to do a beat if you can’t make short sounds and can’t be sure of your sounds (Beatboxer 3).

One participant commented on the technique they use to emphasize sounds:

            I find you use a lot pressure to emphasis the sounds.  You need to keep the sound in front and find the right place to breathe.  There is

            also the challenge of not using the vowel sounds (Vocal Ensemble 5).

            In the writing of a piece of music, composers have a variety of sounds to choose from when creating the texture or sound that they wish to convey.  Several composers noted that they use the consonants b, d, t, and k for the purposes of rhythmic interest.  Similarly, vocal ensembles noted that many pieces included songs with b and d consonant sounds.  This ensemble added:

            We use a fair number of b, d, dim, ding as well as sounds like wah, ts and ka in our pieces (Vocal Ensemble 4).

            The use of the consonants b, d, t, and k are often used as sounds to emulate the sound of a drum kit.  In the absence of a human beatboxer in the ensemble, many participants noted that they performed these consonants in background or accompaniment sections of the piece, thus emulating the rhythmic texture and characteristics of a drum kit.

 

4.4 Rhythm and Breathing

            In the performance of any selection, rhythm and breathing are important characteristics in music making.  Breaks in the music are just important as the melodic and rhythmic elements.  One composer noted that, “conductors dictate the tempo.  In vocal groups, they dictate the tempos together.  They internalize the rhythms” (Composer 1).  Similarly, another composer stated, “in a choir, you would really need to educate them to have the same concept of the rhythm” (Composer 5).

            In addition to the rhythmic features in a piece, breathing or breath control was identified as an important element in the production of vocal percussion and beatboxing.  These individuals cited:       

            I think the main thing is breath control, confidence, precision, and preparation (Beatboxer 6).

            Beatboxing teaches breath control in an amazing way.  Aside from the fact that you have to stoke up the air to carry through with the

            phrase but also beatboxers also use the inhalation as well as the exhalation (Composer 6).

            Beatboxing can be physically taxing because your breath control is so rigid and meticulous.  Breathing is a challenge and if you have

            any nerves and you’re on stage or anything that just adds to it (Vocal Ensemble 1). 

            The idea of creating sound as an illusion was also noted by two participants.  Illusion takes the role of creating sound during the spaces and removing it during more textural elements in the piece.  These statements speak to this realization:

             Bobby McFerrin would lay down a beat and he would trust the audience then to assimilate that into their minds and to play that

             themselves really, so that you layer certain things in real but you don’t use a loop station, so you kind-a, I think use the audience

             like a loop station, and that is at the heart of what we do (Beatboxer 2).  

             It is nice to know that when we listen to music that we pay attention to the important things of the music.  While he was harmonizing

             and then in the breathing place he would fill it up with beatboxing, I started to wonder, that is how we listen to music.  Our ears pick

             up the most important things that are essential (Composer 5).

 

4.5 Beatboxing Warm-ups

            Beatbox participants noted that the best place to rehearse beatboxing was in the bathroom, specifically the shower.  The beatboxers noted that bathroom provided two essential features that helped the production of beatboxing: moisture for the voice, and acoustics.

            In the preparation of beatboxing, several beatboxers noted that they use techniques as warm-ups before a rehearsal.  These comments made by beatboxers highlighted the importance of preparing the lip muscles:  

            Articulation techniques and warm-ups are essential for getting ready to beatbox.  What I do is push my tongue against the outer lips

            to flex the muscles.  Then I do a number of silly rhymes really quickly to practice my control (Beatboxer 3).

            I use lip raspberries to warm up my lips so that I can push and stretch and loosen up the lips.  I also use bi-phonic and breathing

            exercise.  Bi-phonics have been good for clearing the throat requiring so much air (Beatboxer 4).

An interesting perspective regarding the issue of warm-ups as stated by this beatboxer:

            I don’t think the beatbox community is as concerned as the vocal community in terms of warming up because the way beatboxing

            came around is like on the streets of hip-hop.  I am sure that the higher vocal pedagogues would have a lot to say about the

            dangers of beatboxing in general (Beatboxer 5).

            When rehearsing beatboxing, beatboxers believed that the bathroom and preparation of the lip muscles were important factors for performance.  The bathroom provides an acoustic environment that allows the beatboxer to hear the sounds they are creating, and proper care of the lip muscles provides endurance to perform passages for long periods of time.

 

4.6 The use of Microphones

            In small vocal ensembles, groups may elect to use microphones for the purposes of amplifying the sound.  When considering the use of beatboxing, the microphone and sound system greatly enhance the production of sounds created by the beatboxer.   As this composer noted, “Beatboxing will depend on if you are mic’d or not mic’d” (Composer 1).  Vocal ensembles that did not have a beatboxer noted that they did not use a microphone in their performances.  However, these vocal ensembles commented:

            We don’t use mics and we need sounds that carry (Vocal Ensemble 4).

            We don’t use microphones so we need to keep the sound sharp (Vocal Ensemble 5).

            In ensembles where a microphone was used, participants noted different techniques when holding the microphone.  In most cases, vocalists held the microphone a few inches away from the mouth, changing the distance to achieve a blended sound.  Vocalists emulating the bass or drum kit either held the microphone near the nose or had the microphone placed on a microphone stand.  The following statements make reference to the techniques used in holding a microphone:

             I use the mic near my nose to capture the nasal sounds and bass notes.  The sound engineer changes the frequencies to produce

             the good bass, snare, and cymbal sounds (Beatboxer 3).

             My voice is gone right now.  The good thing is that the mic allows me sing without placing too much demand on my voice.  I place the

             mic near my nose and I can hum the notes, and the mic can pick up the tones quite easily (Vocal Ensemble 3). 

             I find that the holding of a microphone in the hand is more limiting than helping (Beatboxer 2).

            When a beatboxer is practicing or trying to figure out a new beat or pattern, it is essential that the beatboxer know the environment in which they are performing.  Will the performance make use of a microphone?  Similar to other forms of rehearsing, there are periods of trial and error, therefore any variables that may change the performance need to be also considered.  This beatboxer shared an experience during a beatboxing competition:

            This beat I was learning for a competition was really cool.  Trying to throw in words amongst the beats.  So I just started learning that,

            and tried to do that, and I didn’t to that in a microphone before, and it doesn’t work.  It’s experimentation.  I am listening to the sounds

            that I make and should have tried out the beats with the mic before hand (Beatboxer 6).

 

5. Pedagogy and Teaching: Beatboxing in Choral Contexts

            When considering the roots of beatboxing, the fundamental element is rhythm.  In the music curriculum, rhythm is an underlying objective taught in the school system, and performance ensembles.  The unique qualities of beatboxing allow for an individual to imitate rhythmic passages with sounds.   One participant noted that teaching rhythm is part of the objectives (Vocal Ensemble 4).  Another participant noted beatboxing as a variety of choral music:

            You know you are trying to teach the choral idiom and if you got a choral program going on I certainly feel this type of material

            [beatboxing] could be one element of it.  But if you are really teaching choral literature you also need a little Mozart and folk songs. 

            You should be exposed to it all.  If there were a beatbox club, I’m sure that you know that the kids would love to do that.  So you can

            get them involved in anything musical (Vocal Ensemble 5).

Another participant noted a different need for beatboxing in education:

             I think we should include beatbox in education.  I see there are many children who are afraid of singing, especially guys, but then

             there are some who can beatbox and it is nice to give them space to explore (Composer 4).

            In any pedagogical program, the teacher/director is the holder of knowledge and direction of what the music program in their school or ensembles is going to look like.  Music curriculum embodies many objectives, including the study history, and exposure to various genres.  This participant noted that he doesn’t think beatboxing will be part of a music curriculum: 

             I don’t think it will ever reach educational systems because it is to street.  It will be up to the professor to introduce the art.  I will

             never see it next to the flute because there is not enough need.  Also beatbox is not structured enough and will have to have some

             type of standard.  However, the new generation of musical teachers will maybe interested in some things like beatboxing instead

            of doing the same things we have been doing for a hundred years (Beatboxer 3).

            Pedagogy is the theory by which a teacher or curricularists develop a curriculum in order to lead the child to an understanding or knowledge in the instruction of a concept.  Data from participants provided an exploration in the area of age, techniques, and resources.

 

5.1 Age

            Age was not a determining factor of when to start learning how to beat box.  Participants noted that most people, regardless of age are drawn to listen to a performer doing beatboxing.  Several participants identified middle and secondary school aged students as generally more focused on wanting to learn the techniques of beatboxing, especially in the area of dubstep, a genre of music originated in England, requiring the beatboxer to use a throated bass line with the emulation of electronic drum sounds.   These participants shared their beliefs on beatboxing:

Engaging for any age.  I found that the younger the age, they want you to keep doing it, do it again, do it again.  But the middle age and definitely high school are like, teach me how to do that (Beatboxer 5).

 

The kids love it.  I had a student in my Grade 12 English class this semester and he just learned beatboxing on his own through YouTube and worked at it and practiced and everyone knew him at the assemblies and wanted him to get up and perform and the kids just cheered (Vocal Ensemble 5).

 

As long as you keep focus, it builds on basic linguistic skills.  It’s really approachable.  Everyone has the innate ability to make sounds with their mouth (Beatboxer 4).

 

5.2 Techniques

            According to this beatboxer, “The only way to do it is to try it” (Beatboxer 1).  Learning how to beatbox requires the individual to master consonant sounds in order to properly imitate the sounds of a drum kit.  As a starting point, beatboxers indicated the phrase ‘Boots and Cats’ or ‘Puffs and Cats’, were effective ways to start learning beatboxing.  In the first lesson, beatboxer 4 emphasized to keep it as a group activity.  It is important to have the groups work on the sounds independently, listening to the sounds that are being created.  Another beatboxer added:

            Need to put an emphasis on the B and K in the boots and cats.  People become nervous, putting their hand over their face.  So you

            need to learn to let that go.  Your also need to place emphasis on your lips and the tension of air you are using while breathing.  The

            biggest thing to think about is that the more physical energy you put in the more sound you will get back (Beatboxer 6).

Beatboxer 4 also stated, “there will always be subtle variations and personal experimentation. Exaggeration, making things bigger, with more pressure and just exaggeration on all fronts does it”.  This point was reiterated by another beatboxer:

            Experimentation and exaggeration of what you would normally do to find where that sound actually happens.  Endurance comes long

            term.  A lot of it is building up muscles in your throat and I find a lot of new sounds that I learn will put a strain on a different part of

            my voice, especially when you first start doing them.  After you do the sound for a couple of months and get used to it, you can do it

            for longer periods of time (Beatboxer 5).

            When creating sounds with the human voice, there are several features of the mouth involved in the production of the sound, including the lips, tongue, nose, and throat.  When a beatboxer is creating a sound, they use all these features to project the desired sound.  The following participants pointed out how the voice can be used to create sound:

            I found that it was better to keep the back of the mouth tight to create projected sounds (Vocal Ensemble 4).

            The beatboxer is using everything from the back of their throat to the tip of the lips.  Regardless of where the sound originates,

            the beatboxer has to project (Composer 6).

            There is a vocal technique for every percussive instrument.  You can use you voice like swing jazz, drum emulation, electronic

            emulation.  It is so versatile.  It is just a whole palette of colors that you can paint with (Vocal Ensemble 1).

 

5.3 Resources

            In order to teach beatboxing, participants identified that bringing in a guest artist or using YouTube were effective resources to help teach and learn about beatboxing.  Having a guest artist would be ideal, as this beatboxer remarked:

            Have like someone who can teach it or come in and teach it.  You are going to get 1 or 2 people who can or want to do and then they

            will continue with it even if they have troubles with it (Beatboxer 1).

If a guest artist is not available, YouTube is a resource that will inspire a student who is interested in learning how to beatbox.  On YouTube, over 20 million videos are returned when the Boolean search of ‘how to beatbox’ is entered in the search engine.  The important part in using YouTube as a resource is to find suitable and age appropriate content prior to instruction in a classroom or ensemble rehearsal.  The following beatboxers shared their perspectives about YouTube:       

            YouTube kind of became a tool because there are so many good guys doing tutorials and competitions (Beatboxer 5).

            YouTube is a very good resource these days.  When I found McFerrin, I realized I didn’t have to make percussive sounds like stereo

            hand claps and snare hi-hat sounds to get across a beat which inspired me a lot and also do octave jumps (Beatboxer 2).

            The community is pretty much global now with YouTube coming what it has, and there’s like literally communities such as B-Low

            in Germany.  It’s like a sharing community where you are getting these techniques.  Techniques evolve cause I assume it has

            something to do with the language and everyone has their own subtle linguistic skills that translate into different beatboxing

            techniques.  So YouTube and the whole global community has just made it explode so that everybody can learn everything pretty

            much when they want (Beatboxer 4).

            First you need to show them what is out there.  You need to go to YouTube.  That is what is going to spark their interest.  So that

            is going to motivate them to want to do it (Beatboxer 6).

 

6. The Future of Beatboxing

            The rise of beatboxing is a global phenomenon, being developed by many cultures around the world through the Internet.  As a vocal technique, beatboxing has provided possibilities in many genres of music, specifically vocal pop groups.  Rhythm is an important part of the music and using beatboxing provides the ensemble with a palette of colors that compliments the a cappella sound. The following participants shared their opinions on the future of beatboxing: 

            Every culture has their own identity and each culture has beatboxers, it is a global phenomenon.  It is something that you want

            to consider (Beatboxer 4).

            I think it [beatboxing] is a technique that expands your musical possibilities really and so anything like that is great.  It is adding to

            something that is already a new color, a new texture, it completes the human voice as instrument (Vocal Ensemble 5).

            A cappella has really had a huge rise and will continue to do that because it is a young peoples way of singing and they do all

            sorts of different types of music.  I believe beatbox will be around for a while because it is still developing (Composer 1).

Beatboxing began in hip-hop culture with the replacement of an electronic drum machine with a human beatboxer to provide beats for a rapper.  In it’s early stages, beatboxing complimented the rap sound.  This beatboxer shared:

            Beatboxing will be at it’s strongest when it’s complimentary with something else (Beatboxer 3).