Tips for Teaching Vocal Percussion

The June/July 2024 issue of Choral Journal is online and features an article titled “Tips for Teaching Vocal Percussion” by Rob Dietz. Following is a portion from the article.
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Whenever I talk to directors who are interested in starting a contemporary a cappella group, there is almost always one concern that jumps out above all others: How do I teach vocal percussion? This makes a lot of sense since the technique of creating vocal drum noises is both enigmatic and fairly unique to contemporary a cappella. Even if you have directed other pop-influenced ensembles (vocal jazz, show choir, musical theatre, etc), it’s unlikely that you have ever had an ensemble member whose job it is to provide drums using only their lips, teeth, and tongue. If you’re worried about how to direct such a performer, fear not. I’m here to help! We’ll start by talking about some terminology, then we’ll look at some core concepts of teaching vocal drumming, and finally we’ll talk about how to start making some of these sounds yourself.

Vocal Drumming Terms
To begin, you may have heard both “beatboxing” and “vocal percussion” used to describe vocal drumming. The terms are often used interchangeably, but they represent two different approaches.

Beatboxing typically refers to the vocal re-creation of an electronic drum kit, which in the early days of hip-hop would have been an 808 synthesizer. A beatboxer tends to be more focused on solo performance, creating what is known as a “freestyle,” which often incorporates both melodic and rhythmic material. Techniques such as pitched lip buzzing, subharmonic throat singing, and vocal siren effects stand in for a variety of synth instruments and work alongside electronic drum imitations to create an impressive solo routine. In contrast, vocal percussion usually refers to the vocal re-creation of an acoustic drum set, with the vocal percussionist’s role being more analogous to the drummer in a band. Rather than focusing on solo performance, a vocal percussionist tends to be more group-oriented and supportive of an ensemble. A vocal percussionist typically performs with a bass singer, and thus tends to avoid melodic synth imitation that might clash with a bass part.

Performers in contemporary a cappella groups will often use elements of both beatboxing and vocal percussion. I like the term “vocal drumming” as a catchall. Regardless of what approach your vocal drummer employs, there are a few core ideas that any teacher should understand and work to instill in their drummer.

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Read the full article in the June/July 2024 issue of Choral Journal. acda.org/choraljournal