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¼ÁËÒ§àµèÒà¤ÂÍèÒ¹¨Ò¡ Galway Chat â´Â¤Ø³ Susan Maclagan
àÁ×èÍÇѹ·Õè 14 Aug 2008 ¹Õé ÅͧÍèÒ¹´Ù¹Ð¤ÃѺ
NFA Convention Notes: Beatboxing
As usual, I had a super time at the flute convention, or “Planet Flute” as a friend likes to call it. :) The first thing that I want to tell you about is flute beatboxing with Greg Pattillo. I thought he was great when I heard him play on Youtube, but in person he was awesome! (For those of you who haven’t heard him play, a google search will bring up many of his videos.) At the flute convention he gave a lecture: “How to Beatbox, and Other Uses for the Flute.” After the lecture he performed with his group “Project” (Eric Stephenson on cello, Peter Seymour on double bass). The group did a terrific job of entertaining the audience and got a standing ovation at the end of their performance. Greg commented that they had to do “arrangements” of pieces for other instruments (e.g., Tchaikovsky’s Nutcracker Sweet and a version of Ian Andersen’s version of Bach’s Bourree) and also compose their own music as there isn’t much literature
for flute, cello and double bass (hint….hint…..to any composers on this list! :). “Project” also gave a terrific performance in the final gala concert on Sunday.
HOW TO BEATBOX – My comments will be between < and >.
There is no right or wrong way to beatbox.
How does it sound?
-Like a rhythm section (or human metronome) going on behind a melody.
Sound #1 (no flute):
-Mouth the syllable “keh.” <There is an air sound at the end of this syllable. Slightly extend its length and increase its loudness so that it has more importance than when mouthing “keh” normally. I get a better sound when I say the syllable simultaneously with an abdomen kick.> Change the pitch of the “keh” if desired.
Points to keep in mind:
-The more you force, the less sound you get.
-Make sure that your mouth is open for “keh.” (i.e, don't use a flute embouchure).
<I get a better sound if my mouth isn't too open. Best to experiment.>
Exercise with flute:
While counting 1 2 3 4 in your head, play a normal note on counts 1 and 3 and sound “keh” on the back beats (i.e. 2 and 4). You can do this with any tune.
Note: When you play this way, there is no competition between the rhythm sound and the flute sound. You can, however, do both sounds at the same time, but you will need more air if you do this.
-----------------------------------------------------
Sound #2
Greg uses the following syllables when he plays:
“t,” “k,” “ts,” “ks,” “sh,” “ch,” “ss,” “f.”
Exercises:
Start with a good breath and then mouth any of these syllables and <extend the air> as described in Sound.
#1. Breathe between EVERY syllable and have the air come out noisily after you say each one. Once you get going, take shallow breaths.
#2. Repeat exercise #1, but this time mouth the syllables with an easy rhythm. For example, mouth
“s,” “s,” “s,” “k,” “k” in the rhythm: eighth-eighth quarter quarter quarter.
-----------------------------------------------------
Sound #3
You can inhale sounds too.
Points to keep in mind:
-You can’t start with a deep breath.
-Breathe lots and make an airy sound.
-<Do not be discouraged with the “f” sound.> It is hard to inhale this sound.
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Sound #4:
Mouth “hah,” “ta,” “hah.”
BREATHE
Repeat several times.
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Sound #5: Shuffle breathing.
Mouth “ha” “ta,” BREATHE
“ha” “ta” BREATHE
“ha” “ta” BREATHE
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Sound #6: For rhythm.
From a closed position, make a “buh” or “puh” sound with your lips (or alternate between these two sounds). Aim for a tomato-hitting-the-wall sort of sound <or champagne cork.>
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Sound #7:
Step 1:
Mouth the word “oot” (of boot); BREATHE; “ss”; BREATHE; “cats”’ BREATHE; “ss”’ BREATHE
Remember to end each syllable with an airy sound.
Step 2:
Play A1 B1 C2 B1 A1 to the rhythm:
quarter eighth-eighth quarter eighth-eighth quarter eighth-eighth quarter quarter
Step 3:
Repeat step #1. Once you have this going, slowly bring your flute up to your mouth and
Repeat step #1 WITH EACH NOTE in step #2.
If you have difficulty, take your flute away from your mouth when you do the syllables and put it on your mouth when you play a note.
Step 4:
Add percussive or melodic “fill” at the end of a beatbox phrase. Since beat-boxing is part of the hip-hop genre, a repetitive vocal style, you may like to copy hip-hop record “fills” to give you an idea of what to play.
Greg mentioned that Pandora.com has useful playalongs for practicing beatboxing. Unfortunately, it’s not available outside of the US. :)
Points to keep in mind:
-keep throat open; resonate through the collar bones;
-hip hop doesn’t generally change keys;
-when you play really fast, omit the extra breathing;
-when you single tongue, don’t breathe in between notes;
-<find phrases in language with good sounds and use these in beatboxing>;
-listen to Cuban music or drums for ideas of sounds to use;
-beatboxing can be done with classical tunes too. Greg mentioned that he’s able to do what he does because of his solid classical training.
At the end of the how-to session, Greg and his group performed:
-a Charlie Parker tune with the rhythm section on the flute and the tune on the cello;
-“Sweet Pea” with flute, string bass and cello. The stringed instrumentalists got into the rhythmic action by hitting the instrument, etc.
-“Bees and the Birds” (a version of the “Bumblebee” by Rimsky-Korsakov), followed by “Peter and the Wolf.”
Greg has beat-boxed for five years. Can anyone do it? See:
https://realfluteproject.com/REALFLUTE/Blogvlog/Entries/2008/8/12_Beatbox_master.html
:)
Best wishes,
Susan Maclagan | | â´Â: ËÒ§àµèÒ [22 ¡.Â. 51 12:56] ( IP A:118.173.248.24 X: ) |  |
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Besten Dank , Herr Hangtau der Super.
¤é¹ËÒ¢éÍÁÙÅÁҵͺä´é äÇ »Ò¹ ¡ÒÁ¹ÔµË¹ØèÁ | | â´Â: ROMEO . Ciao [22 ¡.Â. 51 13:27] ( IP A:203.209.101.239 X: ) | |
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¢Íº¤Ø³ÁÒ¡¤ÃѺ¾ÕèËÒ§àµèÒ | | â´Â: Soundman [22 ¡.Â. 51 14:50] ( IP A:58.8.221.128 X: ) | |
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ÍèÒ¹äÁèÍÍ¡ÍÐ ¤Ñº á»ÅãËé˹èÍÂä´éÁÑê | | â´Â: ¿Ã·¿¾ØÀ [22 ¡.Â. 51 22:15] ( IP A:124.121.197.210 X: ) | |
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