Understandably, many people like the beatbox as much as the S&B. This may seem like a very difficult thing to do at first, but the beatbox is not much different from human speech. You have to develop a rhythmic sense and exaggerate the pronunciation of certain letters and vowels until you can speak in beatbox language. Start with the basic sounds and rhythms first, then build on more sophisticated patterns as you improve.
Steps
Method 1 of 5: Basic Beatbox Techniques
Step 1. Start by knowing that there are several sounds to master
To begin, you must master the three basic sounds of the beatbox: the classic kick drum {b}, the cymbals or hi-hat {t}, and the classic drum or snare {p} or {pf}. Practice combining these sounds in an 8 beat rhythm like the following: {b t pf t / b t pf t} or {b t pf t / b b pf t}. Make sure the timing is right on time. Start slower and gradually increase the tempo.
Step 2. Kick {b}
The simplest way to make the classic kick sound is to simply pronounce the letter "b". To produce it with more volume and attack, you must perform what is known as a lip swing. That is, let the air vibrate between your lips. When you manage to do this, you should produce a little lip swing.
- Make the b sound like the b in the word bogus.
- Now with your lips closed, let the air pressure gather
- You need to control the airflow from your lips enough so that they vibrate for a short time.
Step 3. Next, try to duplicate the hi-hat {t}
Produce a "ts" sound but with your teeth closed, or slightly closed. Move the tip of your tongue forward behind your front teeth for a softer sound, and for a louder sound simply play the original sound of the letter t.
Exhale a little longer to make the sound of the cymbals opening
Step 4. Try successive or advanced hi-hats
You can also make a successive hi-hat by making a “tktktktk” sound, using the front half of your tongue to produce the “k” sound. You can make the hi-hat sound open by reducing the air in the hi-hat “ts”, making it sound more “tssss” to produce a more open sound. Another way to produce a more realistic hi-hat sound is to make a sound "ts" through clenched teeth.
Step 5. Address the classic drum sound {p}
The easiest way to produce the classic drum sound is to say the letter "p". However, the sound of the letter "p" is too quiet. To make it stronger you can try several ways: the first is to make a lip swing, drawing the air between the lips making them vibrate. Another option is to exhale simultaneously at the "p" sound making it look like an "f".
- To make a sound "p" more interesting and similar to the snare, many players add another consonant below: pf, ps, p, psh …
- The "pf" variant is more like the kick drum sound, and is produced by using the front of the lips rather than the sides, and tightening them more.
- Tuck your lips in a little, as if hiding them, so that you have no teeth.
- Add some pressurized air behind the hidden lips.
- Move your lips out and the instant they return to their original position, release the air producing the sound "p".
- Immediately after releasing the air producing the “p” sound, squeeze your lower lip against your lower jaw to produce the “fff” sound.
Method 2 of 5: Intermediate beatbox techniques
Step 1. Practice until you are ready for intermediate techniques
After you've mastered the three basic beatbox sounds, you're ready to move on to these intermediate techniques. They can get a bit more difficult, but practice makes perfect.
Step 2. Develop a good kick drum sound
To achieve this you must press your lips together, exerting pressure with your tongue and jaw, placing the tongue in the front of the mouth and closing the jaw at the same time. Let the air escape between your lips by taking the pressure to the sides for a short moment, producing the classic sound of the kick drum. You can add more pressure to it from your lungs, but take care that it doesn't result in an overly "airy" sound after the kick.
- If the sound of the kick drum doesn't come easily to you, you should relax your lips. If your sound doesn't even resemble that of the kick drum, you should press your lips a little tighter or make sure you are bringing the pressure to the sides of your lips.
- Another way to get closer is by saying "puh." Then, remove the "uh" so that what is heard is the initial attack of the word, sounding like a little puff. Do your best to remove the "uh" sound, and so that the sound is not too airy.
- When you feel comfortable with it, you can progressively tighten your lips, forcing more air out between your lips to produce a great kick drum sound.
Step 3. When you feel comfortable with it, you can progressively tighten your lips, forcing more air out between your lips to produce a great kick drum sound
Try saying "pff", stopping the "ff" something like a milli second after the "p". By lifting the corners of your mouth and pressing your lips tightly when producing the initial "p" you will produce a more realistic sound. You can also use the same technique to change the appearance of the drum's pitch
Step 4. Add a snare drum to add the snare to your mix
Say "ish" first. Then, try saying “ish” without the “sh” at the end, again looking for the initial attack. Make it very short (stacatto) and a growl should sound from the back of your throat. Push a little more when you say it, to exaggerate the attack and accentuate it.
When you are familiar, add the "sh" at the end and you will achieve a sound that resembles a synth snare. You can also practice moving the growl to make it sound higher in your throat for a higher drum sound, or to make it sound lower in your throat for a lower drum
Step 5. Add a “spit roller”
A spit snare is used mostly in trap beats because it is very sharp and fast. You can also hum along with this sound, allowing you to add a bit of musicality to your arsenal. However, this sound is quite frustrating to learn, so be patient.
- There are three variations of this snare: upper lip, middle lip, and lower lip. They don't vary much in sound and are done in much the same way, but some find others easier to do. Find the one that best suits you.
- To do the lower lip snare, you need to fill your upper or lower lip with air (depending on which one you choose). Then push the air out slowly. Once you can do that, quickly force the air out and you're done.
Step 6. Let's not forget the “crash” cymbal
It is one of the easiest sounds to make. Whisper (don't say) the syllable "chish." Then do it again by clenching your teeth and removing the vowel, going from “ch” directly to “sh” without transition. This will give you the typical sound of a crash cymbal.
Step 7. Prepare for the inverted cymbal
Locate the tip of your tongue where the row of upper teeth and the roof of the mouth meet. Parting your lips half an inch, inhale sharply through your mouth. You will notice how the air produces a sound like rushing between your teeth and tongue. Then try inhaling forcefully, this time closing your lips when the air is coming in; It should feel like a small bump on the lips, without producing a popping sound.
Step 8. Don't forget to breathe
You'd be surprised how many beatbox players faint because they forget their lungs need oxygen. You should start by incorporating your breath into the rhythms. You will eventually improve your lung capacity by practicing.
- An intermediate technique is to breathe during the tongue roll, as it requires the least amount of lung capacity. An expert will have practiced breathing long enough to play the beatbox sounds separately, allowing you to play kick, drum, and even some hi-hat sounds without pausing to breathe.
- An alternative to breathing exercises, there are several sounds that can be made by taking a breath. Variants of the drummer or clap beat.
Step 9. Develop the inspired sounds technique
One thing that puzzles people is how beatbox players can play sounds for a long time without having to breathe. Well the answer is to make a sound and inspire at the same time! We call these inspired sounds. And what's more, you'll discover with practice that many of the best sounds are produced this way.
There are many ways to produce inspired sounds. Almost any sound that can be made by exhaling can be made by inhaling - although it can take a lot of practice to do it correctly
Step 10. Hold the microphone properly
The microphone technique is very important, either to interpret or to improve the sounds produced with your body. There are many ways to hold the microphone. You could just hold it as if you were doing it to sing, some beatboxers find by putting the microphone between the ring and major fingers holding it between these fingers above and the thumb below a clearer and brighter sound.
- Try not to breathe into the microphone when you perform.
- Many interpreters perform poorly because they do not hold the microphone correctly, thus losing power and clarity in the sounds they produce.
Method 3 of 5: Advanced Beatbox Techniques
Step 1. Keep practicing until you are ready for the more advanced techniques
When you've mastered the basic and intermediate techniques, it's time to learn some advanced techniques. Don't worry if you have trouble mastering them easily. With practice you will be able to use them all eventually.
Step 2. Develop a low “sweeping” drum sound (also known as lip swing) (X)
This sound is used to replace the bass drum. It takes approximately ½ to 1 pulse to do so. To perform a sweeping bass drum, start as if you were doing a bass drum. Then loosen the lips so they can flap when you blow the air through making sure to focus on the vibration in the front of the lip. Then with the tip of your tongue, touch the inner gum of your lower teeth and push to perform the technique. You can create different sounds and tones by saying the letters while you breathe.
Step 3. Practice the low tech technique (U)
To make this sound you must make an "oof" sound that comes out of your stomach, as if you had received a blow. Do it with your mouth closed. You should feel the vibration in your chest.
Step 4. Add a Techno Drum to the mix (G)
It is done in the same way as the low techno, but with the mouth in the form of saying "shh". You will still get the bass sound simultaneously.
Step 5. Don't forget the classic scratch
This is done by reversing the airflow of any of the previous techniques. Being a commonly underrated technique, scratching involves both tongue and lip movements, depending on the instrument you want to “scratch”. To understand it better, record yourself lying down for a moment. Then, using some music program, like Windows Sound Recorder, listen to it in reverse.
- Learning to emulate those sounds in reverse literally duplicates your known techniques. You can also try producing a sound and immediately after doing the same but in reverse (ex: a bass sound followed by its reverse in rapid succession produces the classic scratch scratch.
- Crab scratch:
- Raise your thumb. Open your hand and place your fingers 90 degrees to the left.
- Press your lips together. Place your hand on your lips with your lips facing out, near the phalanx of the thumb.
- Suck in air. It should produce a sound like that of a DJ.
Step 6. Practice the Jazz brushes
Blow gently through your mouth as you try to hold the letter “f” sounding. By blowing a little harder on rollers 2 and 4, you will get the accents.
Step 7. Add a rimshot
Whispering the word "ko", then do it again without the "o" sounding. Press the "k" a little harder and you will get the rimshot.
Step 8. Use a bass with your tongue
Bass with the tongue is a very versatile technique, but easy to learn. One way to learn it using this is to roll up the “rs”. Once you get the hang of it, add more pressure to create the sound.
Another way to learn this is to place your tongue just above the hard part of your teeth and breathe. There are many variations of this technique, such as tongue bass, which is a type of bass in which you place your tongue directly on top of your teeth
Step 9. Add a click roll (kkkk)
This is quite a difficult technique to get right the first time, but once you master it you can use it at any time. To begin, position your tongue so that the right side (or the left, depending on your preference) is resting where your upper teeth meet the gum. Then, pull the back of your tongue toward the back of your throat to get the click-roll sound.
Step 10. Practice humming the bass base and beatbox simultaneously
This technique is not as difficult as singing, but when you are starting out it is easy to get lost. To begin with, you should first know that there are two ways to hum: one is from the throat (saying “ahh”) and the other is through the nose (“mmmmmm”), which is much more difficult to use but immeasurably more versatile..
- The key to humming and beatboxing simultaneously lies in keeping the bass melody in mind. Listen to the basics of rap, whether they are hummed or not (for example, listen to Flashlite by Parliament Funkadelic's and practice humming the tune, then beatbox over it; James Brown is also excellent for tunes)
- Find melodies to hum in your music collection, then add a few beats that you can do or someone else can do. Learning how to hum a bass tune is necessary for a number of reasons, especially if you plan to learn to sing. This is the area of the beatbox where originality takes center stage!
- If you have already tried humming a bass line and singing beatbox over it, you may have noticed that the ability to perform certain sound techniques is noticeably diminished (Techno Bass and Techno Drum are very limited, as the click roll becomes, otherwise unusable at least very hard to hear). Learning what works and what doesn't takes a lot of time and practice.
- If you're ever in a beatbox showdown, don't forget that while stamina and speed are important, using interesting new melodies and bass lines always win out over the crowd.
Step 11. You need to practice humming inward
This is a very advanced technique that is not very common in beatbox circuits. There are several resources available on how to sing / hum inward. For beatbox purposes, when you really need to breathe, it's a good idea to hum inward. You can always hum the same tune, but the note will change dramatically.
With practice, this pitch shift can be corrected to some extent, but many inward-humming beatbox experts decide to change the tune when they shift from the inside out
Step 12. Adding trumpet sounds is a great way to improve your mix
Hum a falsetto (very high pitched register, like Mickey Mouse). Then lift the front of your tongue for a thinner, sharper sound. Add a light, relaxed lip roll (Classic Kick) before each note. Then close your eyes, let it flow and you are Louis Armstrong!
Step 13. Practice singing and beatboxing simultaneously
The key is to align the consonants with the bass and the vowels with the snare. Don't bother adding the hi-hat to it, as even the best performers don't.
Step 14. Another advanced variation is to create a warped swept dubstep
This is known as a low throat. Start by pretending to clear your throat or growl like an animal. The resulting sound will be harsh, so adjust the back of your mouth until you get a consistent tone. After achieving this, to make the sweeping sounds, change the shape of your mouth and that will change the timbre while maintaining the pitch.
- You can change the pitch by modifying the vibration in different areas of your throat. Two variations of this are the vocal bass line and the vibe bass. The vocal bassline employs throat bass and uses your own voice at the right time. Once you find the harmony between the two sounds, you can add a useful layer to sing and beatbox at the same time.
- Caution: doing this for a long time can cause temporary swelling. Remember to drink a lot of water.
Method 4 of 5: Sing and beatbox
Step 1. Sing and beatbox
Singing and beatboxing simultaneously can seem like an impossible task (especially at first). But it is actually quite simple. Here's a sample work to help you get started. You can use this basic technique and later adapt it to any song.
(b) if your (pff) mother (b) (b) on (b) (pff) ly knew (b) knew (pff) ("If Your Mother Only Knew" by Rahzel)
Step 2. Listen to songs
Listen to the songs you want to beatbox a few times to familiarize yourself with the beats and beats of the song. In the example below, the hits are marked.
Step 3. Sing the melody a few times with the lyrics
This will help you get comfortable with the song.
Step 4. Try to match the blows with the letter
Most songs have the beats in front of the words. In this case:
- "If", since the word "if" in our example starts with a vowel, it is easy to fit the bass just before it, as if saying "bif". Note however, that the "b" should be low and if necessary, separate the rhythms of the words a bit when starting.
- "mother", the word "mother" begins with a consonant. In this case, you can drop the "m" and replace it with the "pff", as they sound pretty close when said quickly. Or, you can stagger the word a little so that the punch comes first, and the letter slightly delayed. If you choose the first one, you will end up singing "pffother." Note that the upper teeth are in contact with the lower lip, which is what creates the sound similar to the "m". If you can handle it, it will sound so much better.
- “On”, for the “on” double hit, you can hum the pitch while doing “b-b-on”, then continue with “b pff-ly knew”, while humming the tune. For "on", you will notice that the sound breaks if you sing the second beat. To remedy it, hum from your nose. This can be done by simply pressing the back of your tongue up to rest against your soft palate. This buzzing now comes out of your nose, and is not interrupted by what you do with your mouth.
- "Knew", the word "knew" echoes and disappears.
Step 5. Adapt these skills
These steps can be easily adapted for any song and rhythm. Keep practicing, with different songs and soon you will be able to improvise more easily.
Method 5 of 5: Patterns
Modified drum chart
The first line is for the snare sound. It can be a tongue drummer, throat drummer, or any other drummer. Next is the hi-hat line, and the third is the bass line. You can add a fourth more line for different sounds, which must be specified below the table and used only for that sound. Here is an example:
S | ---- | K --- | ---- | K --- || ---- | K --- | ---- | K --- | H | --T- | --T- | --T- | --T- || ---- | ---- | ---- | ---- | B | B --- | ---- | B --- | ---- || B --- | ---- | B --- | ---- | V | ---- | ---- | ---- | ---- || --W- | --W- | --W- | --W- | W = "What? Vocalized"
The bars are separated by single lines, bars and double bars
Low
- JB = Bass Drum Bumskid
- B = Strong bass drum
- b = Soft bass drum
- X = Low Drum Swept
- U = Techno Bass Drum
Drummer
- K = Tongue drummer (without lungs)
- C = Tongue drummer (with lungs)
- P = Pff or lip roll
- G = Techno drummer
Hi-Hat
- T = Drummer "Ts"
- S = Open snare "Tssss"
- t = Front of successive hi-hats
- k = Back of successive hi-hats
Others
Kkkk = Click roll
Basic compass
This is the basic compass. All beginners should start here to progress later.
S | ---- | K --- | ---- | K --- || ---- | K --- | ---- | K --- | H | --T- | --T- | --T- | --T- || --T- | --T- | --T- | --T- | B | B --- | ---- | B --- | ---- || B --- | ---- | B --- | ---- |
Double hi-hat
This beat sounds great and is a good exercise for speeding up hi-hats without using successive hi-hat sounds. S | ---- | K --- | ---- | K --- || ---- | K --- | ---- | K --- | H | --TT | --TT | --TT | --TT || --TT | --TT | --TT | --TT | B | B --- | ---- | B --- | ---- || B --- | ---- | B --- | ---- |
Modified double hi-hat
This is a more advanced measure that should only be attempted if you can already do the Double Hi-hat pattern perfectly. Change the rhythms in the double hi-hat pattern to make it more interesting.
S | ---- | K --- | ---- | K --- || ---- | K --- | ---- | K --- | H | --TT | ---- | TT-- | --TT || --TT | ---- | TT-- | --TT | B | B --- | --B- | --B- | ---- || B --- | --B- | --B- | -B-- |
Advanced compass
This is a very advanced compass. Only try them if you have already mastered the previous patterns, as well as successive hi-hats (tktktk).
S | ---- | K --- | ---- | K --- || ---- | K --- | ---- | K --- | H | -tk- | -tk- | tk-t | -tkt || -tk- | -tk- | tkSS | --tk | B | B - b | --- B | --B- | ---- || B - b | --- B | --B- | ---- |
Techno compass
S | ---- | G --- | ---- | G --- || ---- | G --- | ---- | G --- | H | --tk | --tk | --tk | --tk || --tk | --tk | --tk | --tk | B | U --- | ---- | U --- | ---- || U --- | ---- | U --- | ---- |
Basic kick and bass time signature
S | --P- | -P-- | | S | -P - P | -P ---- P- | H | ---- | ---- | {3x} | H | ----- | -.tk.t-t | B | B --- | B --- | | B | B-BB- | B -. B --- |
Simple but "cool" compass
This measure has 16 beats that are divided into 4 beats. It sounds better when it is faster.
| B t t t | K t t K | t k t B | K t t K | 1 -------- 2 -------- 3 -------- 4 -------
MIMS bar "This is why I'm hot"
When he says D, do a quick kick. S | --K- | --K- | --K- | --K- | H | -t-t | t - t | -t-t | t - t | B | B --- | -D-- | B --- | -D-- |
Classic Hip-hop time signature
S | ---- | K --- | ---- | K --- | H | -tt- | -t-t | tt-t | -ttt | B | B - B | --B- | --B- | ---- |
Snoop Dogg’s “Drop it like it’s hot” beat
For the t line, you need to click your tongue. The number three represents a slight opening of the mouth, to achieve a more open and sharp sound. One represents a small "O" shaped mouth, for a more serious tongue click, and two is somewhere in between. The beat is quite difficult, and you can practice it by just doing the bass and snare until you feel ready to add tongue clicks to it. Also, you can add a high throat hum in the style of "Snoooop." Listen to the song to know what it is like. v | snoooooooooooooooo t | --3--2-- | 1--2 ---- | S | ---- k --- | ---- k --- | B | b - b - b- | --b ----- |
v | ooooooooooooooooooop t | --1--2-- | 3--2 ---- | S | ---- k --- | ---- k --- | B | b - b - b- | --b ----- |
Create your own patterns
Don't be afraid to try using weird-sounding bars. Play with the location of the different sounds, while it flows.
Advice
- Make sure you know how to interpret exhaling and how to interpret without exhaling. It will help you beatbox and sing simultaneously.
- Drink a drink of water periodically to prevent your mouth from drying out.
- Practice whenever possible. Since you don't use anything except your own body, you can practice at home, at work, at school, on the bus, almost anywhere is appropriate. One of the best places to practice is the bathroom because there is very good acoustics and the beats sound much better.
- Always practice with a constant tempo. So you try to always continue at the same speed.
- Try to beatbox in front of a mirror to see how your face looks when you do it, and know when to cover it lightly.
- Certain types of lip gloss can be very helpful when you are going to beatbox for a long time, preventing your lips from drying out. It is also very healthy.
- Meet up with other performers and beatbox together. It's fun and you can learn a lot from new friends.
- If you are starting to play or want to make a difficult measure, always start by practicing the weaker sounds. This will make it easier to make everything smoother. After a while, you will find the right timing and can focus on the volume and clarity of the sounds. This will make it easier on your head, because you already know when to make the sounds, even if they were weak at first.
- Try to cover your mouth and nose for louder, more acoustic sounds when you beatbox the mic.
- Hear some famous beatboxers like Killa Kela, Rahzel, Speiler, Roxorloops, Black Mamba, Biz Markie, Doug E. Fresh, Matisyahu, Max B, Blake Lewis (American idol finalist), Bow-Legged Gorilla, or even Bobby McFerrin (the artist of "Don't worry be happy" who created the song by mixing his voice on different tracks to make the sounds of the instruments).
Warnings
- Try to limit yourself at first, while the muscles in your face get used to these exercises. If you feel pain, stop for a moment.
- Don't drink coffee while performing, as the coffee will dry out your mouth and throat. The same goes for tea. Just drink water.
- Make sure you are well hydrated before starting because a dry kick and bass are very distinguishable. Remember that you will get it right eventually.
- As soon as you start, you will probably feel a bit silly. But if you keep practicing you will have a lot of fun and make awesome music at home at the same time.
- You will also get out of breath so make sure you are breathing properly.
- Your mouth will probably not be used to the sudden pressure that you will be exerting on it. Your jaw may feel sore at first and your lips may go numb.