5 Ways to Make Beatboxes

2024 Author: Samantha Chapman | [email protected]. Last modified: 2023-12-17 09:13

The beatbox isn't all that different from normal human speech. Just start developing a sense of rhythm, then accentuate the pronunciation of some letters and vowels, until you are able to communicate in the beatbox language. You start with basic sounds and rhythms, and then move on to more complex patterns as you get better and better.

Steps

Method 1 of 5: Basic Techniques

Step 1. Remember that there are several sounds to learn

To begin, it is important to learn the three basic sounds of the beatbox: the classic bass drum, or kick drum {b}, the hi-hat {t}, and the classic snare drum, or snare drum {p} or {pf}. Practice combining these sounds into an 8-beat rhythm, like this: {b t pf t / b t pf t} or {b t pf t / b b pf t}. Make sure you stick to the times. Start slowly and increase the speed a little at a time.

Step 2. Practice the classic kick drum {b}

The simplest way to make the classic kick drum is to say the letter “b”. To make the sound louder and more vibrant, you need to reproduce a so-called "lip swing". You have to make the air vibrate through your lips, as if you were "blowing a raspberry". When you are able to do this, you will be able to produce a very short swing of the lips.

• Say the b as if you were saying the b in the word "edge".
• Keeping your lips closed, let the pressure build up.
• You will need to control the release of the lips, causing them to vibrate for only a small fraction of the time.

Step 3. Then try to play hi-hat {t}

Produce a simple "ts" sound, while keeping your teeth clenched, or slightly clenched. Move the tip of the tongue forward, behind the front teeth, for a thinner sound, and hold it in the traditional “t” position for a heavier sound.

Breathe longer to create a more open sound

Step 4. Then try your hand at the more advanced hi-hats

You can try to complicate hi-hats by producing a "tktktktk" sound, using the back of the tongue to produce the "k". You can make an open hi-hat by exhaling as you produce the “ts”, so that it sounds more like a “tssss”, thus producing a more realistic sound, similar to a door opening. Another possibility to produce a realistic high hi-hat is to produce the "ts" sound by keeping the teeth clenched.

Step 5. Take on the classic snare drum {p}

The easiest way to produce a classic snare drum is to say the letter p. A simple p, however, will not be enough. To make it more intense, you can do several things: first, try a lip swing. You will have to push the air against your lips, making them vibrate. The second possibility is to exhale as you say p, thus producing a sound similar to a [ph].

• To make the p more interesting and snare-like, most beatboxers add a second (continuous) fricative sound to the initial p: pf ps psh bk.
• The {pf} variation is similar to the bass drum, except that you will have to use the front of the lips and not the sides, squeezing them tighter.
• Pull your lips back, so that they are partially hidden, as if you have no teeth.
• Let the air build a little pressure behind the hidden lips.
• Move your lips outwards and, just before they return to their normal (not hidden) position, release the air, producing a p.
• Immediately after releasing the air and producing the p, press your lower lip against your lower teeth to produce a sound similar to an "fff".

Method 2 of 5: Intermediate Techniques

Step 1. Exercise until you are ready to move on to intermediate techniques

Once you've mastered the three basic beatbox sounds, it's time to move on to the intermediate techniques. They could be a little more complex but, as with anything else, you will improve with exercise.

Step 2. Develop a good bass drum

You will need to keep your lips together, building up pressure with your tongue and jaw, pushing your tongue forward from the back of your mouth and closing and opening your jaw at the same time. Move your lips sideways for a short moment, in order to release the air, just like you would for a bass drum. It is important to add pressure with the lungs, but not too much: you shouldn't hear the sound of passing air.

• If you can't make a low enough sound, try to relax your lips. If, on the other hand, the sound you make is completely different from what you want, tighten your lips more and be sure to move them sideways.
• Another way to try to reproduce this sound is to say "puh". Then remove the "uh" part, so that only the initial attack of the word is heard, which should come out like a small puff. Do your best not to let the "uh" out and try not to produce the sound of breathing or passing air.
• When you are able to reproduce this sound with ease, try to tighten your lips slightly and let more air pass through them: you will make the sound more intense.

Step 3. Experiment with other ways to produce a snare sound

Bring your tongue to the back of your mouth and build up pressure with your tongue or lungs. If you want to make sound faster use your tongue, if you want to breathe while making sound, use your lungs instead.

Try saying "pff", making the f stop a millisecond after the p. Lifting the corners of your mouth and squeezing your lips together as you produce the p will help you achieve a more realistic sound. You can use the same technique to change the pitch of the snare drum

Step 4. Add a drum machine snare sound

Say an "ish". It therefore tries to produce an "ish" without "sh" at the end, reproducing once again only the initial attack. Say it very short - you should get a kind of grunt at the bottom of your throat. Try to push a little while pronouncing the letters, in order to achieve an intense and accentuated attack.

When you can play this sound with ease, add the “sh” at the end, making it more like the sound of a synthesized snare drum. You can also work on the grunt, so that it starts from the top of the throat, for a higher sound, or from the bottom of the throat, for a lower sound

Step 5. Don't forget the cymbals

It is one of the easiest sounds to make. Whisper (don't pronounce) the syllable “chish”. Repeat, but trying to clench your teeth by removing the vowel, passing from "ch" directly to "sh" with a very short or non-existent pause: in this way you will reproduce the sound of a harpsichord.

Step 6. Learn the reverse harpsichord too

Position the tip of the tongue so that it touches the point where the upper dental arch meets the palate. Keeping your lips about 1 cm apart, forcibly pass air through your mouth. Notice how the air passes through your teeth and tongue, producing a kind of rubbing sound. Then breathe again forcibly, but closing your lips as you inhale; you should feel the air being blocked while it is almost on the verge of bursting, but without actually bursting.

Step 7. Don't forget to breathe

You would be amazed at the number of beatboxers who pass out because they forget that oxygen is also needed by their lungs. Try to incorporate the breath into the rhythm. You will be able to gradually increase your lung capacity through exercise.

• An intermediate technique is to breathe through the snare drums with the tongue, as they require a very small amount of lung capacity. In the long run, an expert will learn to breathe between one sound and another (see previous step), separating the breath from the rhythm, thus producing different bass, snare and hi-hats continuously without pauses.
• As an alternative to breathing exercises, remember that there are several sounds that can be made by inhaling, such as snare and clap variations.

Step 8. Develop your ability to produce internal sounds

One aspect of the beatbox that amazes people is how beatboxers can go on for a long time without breathing. The answer is: make a sound and breathe at the same time! They are called "internal sounds". Also, as you will soon discover, some of the best sounds are produced just this way.

There are several ways to produce internal sound. Almost all the sounds that can be made outside can also be made inside, although it may take some practice to learn

Step 9. Hold the microphone correctly

The position of the microphone is very important for any performance, or even for enhancing the sounds produced with the mouth. There are several ways to hold the microphone. You can always hold it as if you were singing, but some beatboxers think that holding it between the ring finger and middle finger and holding it still with the index finger at the top and the thumb at the base can produce a cleaner and more defined sound.

• Try not to breathe into the microphone while beatboxing.
• Many beatboxers produce a low-level performance because they hold the microphone incorrectly and therefore fail to maximize the power and clarity of the sound they can produce.

Method 3 of 5: Advanced Techniques

Step 1. Keep practicing until you are ready for the more advanced techniques

Once you have acquired basic and intermediate skills, it will be time to learn more advanced techniques. Don't worry if you don't succeed right away. With a little practice, in the end, you will be able to put them all into practice.

Step 2. Produce a sweeping bass drum (X)

You will use it instead of a regular bass drum. This sound takes 1/2 or 1 beat to play. To make a sweeping bass drum, start just like making a bass drum. Then soften your lips so that they move when you push the air outwards. Touch the inside of the lower gum with the tip of your tongue and push it forward.

Step 3. Learn the techno bass (U) technique

You will have to produce a sort of "oof", as if you have just been hit in the stomach. Keep your mouth shut, you should hear the sound in your chest.

Step 4. Add a techno snare (G)

It is done in the same way as techno bass, but you will have to position your mouth as if to produce a "shh". Here, too, the sound should vibrate in the chest.

Step 5. Don't forget about scratching

Scratching is performed by reversing the flow of air in any of the previous techniques. It is an easily misunderstood technique and involves different movements of the tongue and lips, depending on the instrument with which you intend to "scratch". To better understand how this works, record yourself playing a rhythm. Then, using a music program, such as Windows Sound Recorder, listen to it in reverse.

• Learning to play these inverse sounds will literally double up on the techniques you know. Try playing a sound and, immediately afterwards, try your hand at its backhand (for example, play a bass followed in rapid succession by its inverse: in this way you will produce a classic "scratch").

• How to make a Crab Scratch:

  • Lift your thumb. Open your hand and turn your fingers 90 degrees to the left.
  • Puck your lips. Place your hand over your mouth, with your lips close to the thumb slot.
  • It sucks the air inwards. You should produce a distorted sound, like that of a DJ.

  

  Step 6. Work on the Jazz Brush

  Blow the air from your mouth trying to continuously reproduce the letter "f". By blowing slightly harder on bars 2 and 4, you will produce the necessary accents.

  

  Step 7. Add the Rimshot

  Whisper the word "kaw", then say it again without letting the "aw" pass. Push a little harder on the "k" and you will produce a rimshot.

  

  Step 8. Add a Click Roll (kkkk)

  This is a very difficult technique to perform in the beginning, but once you have mastered it, you can play it whenever you want. To begin, position your tongue so that the right (or left, depending on your preference) side rests just above where your upper teeth touch the gum. Then pull the back of the tongue towards the back of the throat, producing a click roll.

  

  Step 9. Practice humming a melody and beatboxing at the same time

  It's not as difficult as singing, but it's easy to get confused at first. To get started, you'll first need to understand that there are two ways to hum: one from the throat (like “ahh”) and one from the nose (“mmmm”), which is much harder to learn but extremely more versatile.

  • The secret to humming and beatboxing at the same time is to start with a melody in your head. Listen to rap spins, whether they're hummed or not (for example, try listening to Flashlight by Parliament Funkadelic and practice humming the melody, then try beatboxing on it; James Brown is great for melodies too).
  • Listen to your music collection to discover new melodies to hum, then try inserting some of your own rhythms, or someone else's rhythms, onto the melodies of your choice. It is important to learn how to hum a tune for several reasons, especially if you are going to learn how to sing. This part of the beatbox requires a certain originality!
  • If you have tried to beatbox and hum at the same time, you will have realized that you lose some of your ability to perform certain techniques (the Techno Bass and the Techno Snare, for example, are very limited, while the Click Roll becomes very difficult to hear., if not completely unusable). Understanding what works and what doesn't takes time and practice.
  • If you find yourself in a beatbox battle, don't forget that while stamina and speed are very important, using interesting new melodies will always win the audience's favor.

  

  Step 10. You will also have to train yourself to hum inside

  This is an advanced technique that is not used very often in the beatbox world. There are several guides that explain how to sing / hum inward. For the beatbox, where you often really need to breathe, humming inside could help. You can keep playing the same melody, but the pitch will change dramatically.

  With practice you will be able to partially correct this change of melody, but many beatbox experts who use this technique prefer to change the melody when they switch from humming outside to humming inside

  

  Step 11. Adding a trumpet sound is a great idea for customizing sounds

  Hum in falsetto (i.e. in a very high pitch). Then lift the bottom of the tongue to make the sound thinner and higher. Add a soft swing of the lips (like that of the classic kick drum) at the beginning of each note. Close your eyes and pretend you're Louis Armstrong!

  

  Step 12. Practice singing and beatboxing at the same time

  The secret is to align the consonants with the basses and the vowels with the snare. Don't bother adding hi-hats, even the most experienced beatboxers find it difficult.

  Method 4 of 5: Singing and Beatboxing

  

  Step 1. Sing and beatbox at the same time

  Singing and beatboxing at the same time might seem like an impossible task (especially in the beginning). In reality, though, it's pretty easy. Here are some working templates to start with. You can use this basic technique and adapt it to any song later.

  (b) if your (pff) mother (b) (b) on (b) (pff) ly knew (b) knew (pff) (taken from If Your Mother Only Knew by Rahzel)

  

  Step 2. Listen to the songs

  Listen a few times to the songs you want to beatbox on and try to understand the rhythm well. In the previous example the accents were highlighted.

  

  Step 3. Sing the melody a few times with the words

  This way you will practice the song.

  

  Step 4. Try to insert the rhythm into the words

  Most of the songs will involve the insertion of a rhythm in front of the words. Then:

  • "If" - since the "if" word in our example starts with a vowel, it's easy to put a bass in front of it, as if you were saying "bif". Remember that the "b" will have to be low and, if necessary, you will have to separate the rhythm from the words when you first start.
  • "Mother" - the word "mother" begins with a consonant. In that case you could drop the "m" and replace it with "pff", as they sound quite similar when pronounced quickly. You can also delay the word a little, so that you can produce the rhythm first. If you choose the former, you'll have to sing a kind of "pffother". Remember that the upper teeth will have to touch the lower lip, thus creating a sound similar to the m. If you can manipulate it, even better.
  • "On" - for the double rhythm to "on", you can hum the key playing a "b-b-on", then immediately switch to a "b pff-ly knew", all while humming the melody. As for the "on", the sound could break when playing the second bass. To remedy this problem, hum through your nose. Just push the tongue backwards, against the upper palate. The sound will pass through the nose and will not be interrupted by the movements of the mouth.
  • "Knew" - the word "knew" ends with an echo, and then disappears.

  

  Step 5. Adapt this technique

  You can change these steps for any song. Keep practicing with different songs and soon you will be able to sing and beatbox at the same time much more easily.

  Method 5 of 5: Patterns

  Modified TAB

  The first line is for snares, which can be snares with the tongue, snares with the lips or any other type. The hi-hat line then follows, while the third is the bass drum line. It is possible to add a line on the bottom for mixed sounds, which will be defined under the tablature and which will apply only under that specific pattern. 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 = Sung "What?"

  Rhythms are separated by single lines, bars by double lines. Here is a legend of the symbols:

  Bass

  • JB = Bumskid bass drum
  • B = Loud bass drum
  • b = Soft bass drum
  • X = Sweeping bass drum
  • U = Techno bass drum

  Snare

  • K = Snare with tongue (without lungs)
  • C = Snare with the tongue (with the lungs)
  • P = Pff or snare with the lips
  • G = Techno snare

  Hi-Hat

  • T = "Ts" snare
  • S = "Tssss" snare open
  • t = front of the following hi-hats
  • k = rear of the following hi-hats

  Others

  Kkkk = Click roll

  Base Rhythm

  The starting pace. All beginners should start from here, and then try their hand at more difficult rhythms.

  S | ---- | K --- | ---- | K --- || ---- | K --- | ---- | K --- | H | --T- | --T- | --T- | --T- || --T- | --T- | --T- | --T- | B | B --- | ---- | B --- | ---- || B --- | ---- | B --- | ---- |

  Double Hi-Hat

  It has a good rhythm and is a good exercise for speeding up hi-hats without using subsequent sounds.

  S | ---- | K --- | ---- | K --- || ---- | K --- | ---- | K --- | H | --TT | --TT | --TT | --TT || --TT | --TT | --TT | --TT | B | B --- | ---- | B --- | ---- || B --- | ---- | B --- | ---- |

  Double Hi-Hat Modified

  This is a more advanced rhythm that should only be tried if you can play the double hi-hat with perfect precision. In fact, he modifies the double hi-hat scheme 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 Rhythms

  This pace is very advanced. Try to play it only if you are able to smoothly play the above patterns as well as the following hi-hat (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 rhythm

  S | ---- | G --- | ---- | G --- || ---- | G --- | ---- | G --- | H | --tk | --tk | --tk | --tk || --tk | --tk | --tk | --tk | B | U --- | ---- | U --- | ---- || U --- | ---- | U --- | ---- |

  Base Drum and Bass rhythm

  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 pace

  This rhythm features 16 beats. Ch4nders divided it into 4 stages. Sounds best when played fast.

  | B t t t | K t t K | t k t B | K t t K | 1 -------- 2 -------- 3 -------- 4 -------

  Rhythm MIMS "This is Why I'm Hot"

  On the D, do a quick double bass kick.

  S | --K- | --K- | --K- | --K- | H | -t-t | t - t | -t-t | t - t | B | B --- | -D-- | B --- | -D-- |

  Classic Hip-Hop Rhythm

  S | ---- | K --- | ---- | K --- | H | -tt- | -t-t | tt-t | -ttt | B | B - B | --B- | --B- | ---- |

  Rhythm Snoop Dogg "Drop It Like It's Hot"

  On line t you will have to produce a click with the language. Number three provides a relatively open mouth to produce a higher, open sound. The one represents a small "O" -shaped mouth, for a low click with the tongue, while the two is something in between. This is a pretty difficult rhythm: you can practice playing just the bass and snare until you are ready to add the clicks with your tongue as well. Plus you can also hum a "Snooooop" in a high pitch, with a sound coming from your throat. Listen to the song to understand what it is.

  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 Personal Rhythms

  Don't be afraid to use special rhythms. Experiment with your favorite and use different sounds, as long as they match the rhythm and melody of the song.

  Advice

  • Train wherever possible. Since you won't need any other tool than your body, you can train at home, at work, at school, on the bus or wherever it is appropriate. One of the best places to train is the bathroom, as there is good acoustics and the rhythm will sound much better.
  • Drink a glass of water from time to time, to prevent your mouth from drying out.
  • Always train at a steady pace. Try to keep the same speed throughout the pattern.
  • Certain types of lip glosses can help you beatbox for a long time without drying out your lips.
  • When you start to beatbox, or try a complicated rhythm, start practicing by producing soft sounds. It will be easier to play the various sounds smoothly. Once you have learned to respect the timing, you can focus on the sonority and making the sounds more distinct. It will be easier mentally, since you will already know when to make the sounds, even if they won't be heard much at first.
  • Hear the music of 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 Don't Worry Be Happy artist who created the entire song using just his voice played on different tracks to create the effect of so many different instruments).
  • Make sure you can beatbox both exhaling and without exhaling. It will help you sing and beatbox at the same time.
  • Try to find other beatboxers and train together. It will be fun and you can always learn new things from your new friends.
  • Try beatboxing in front of the mirror to check your facial expressions while beatboxing, and learn when to lightly cover it.
  • Try covering your mouth and nose to produce louder or higher pitched sound without using a microphone.

  Warnings

  • At first, you will probably feel a bit awkward. With consistency, however, you will have a lot of fun and be able to produce some fantastic music at the same time.
  • Don't drink coffee while making beatboxes, as it tends to dry out your throat and mouth. The same goes for tea. Drink only water.
  • Make sure you are well hydrated before starting, as it clearly stands out when playing dry kicks and basses. Eventually you will get carried away.
  • At first try to limit yourself, since the muscles of your face will not be used to doing so much exercise. If you feel they start to hurt, take a break.
  • Your mouth probably won't be used to all this new pressure. Your jaw may hurt, while your mouth may feel the same tingling sensation as when your feet fall asleep.
  • You may be short of breath, so learn to breathe properly.