Presented by:
Justin Glodich, Eldred Central
Schools
2015 ACDA National Conference
Salt Lake City
 A look at vocal percussion and its place in
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contemporary vocal music.
The importance of rhythm, steady beat, tempo and
form when practicing and performing vocal
percussion.
Basic vocal percussion sounds in a variety of styles to
practice and perform.
Microphone technique and discussion on the use of
throat microphones.
Examples of notation of vocal percussion.
• The AEA is committed to the creation, proliferation, & development of
a cappella groups, programs, and curricula across America through
pedagogical guidance, musical resources, networking opportunities,
and collaborative support.
• Formed in 2014, the AEA is backed by many organizations, including
Alfred and ACDA.
• 1st National AEA Convention being held in April
2015
• State Reps to help promote a cappella and
incorporate into curriculum in a variety of ways.
•To offer new opportunities for students to perform.
•To build rhythmic skills.
•To build improvisational skills.
•A recruitment tool for your choir, particularly male students.
For me personally, I have seen a spike in male
participation in choir because of their interest in vocal
percussion.
Vocal percussion is the imitation or approximation
of percussion instruments.
Human Rhythm are the basic natural, human
gutteral sounds we create.
The Basics
Bass (Kick) Drum
Rim Shot
Snare Drum
Hi-Hat
Tom-toms
Cymbals
Source: A Cappella Pop, Brody McDonald, Author, Jake Moulton, Contributor
Sound
Description
Uh
Human rhythm sound
Doo
Think of lowest note you are
able to sing. Create a short
accented sound
Poo
Similar to doo, more
percussive effect due to lips
pushing off each other.
Boo
Similar to poo, with lower lip
forward
K
The basic sound you would
hear at the beginning of
words like cat or keep.
Try playing with different vowel sounds to change
the tone of the rim shot sound.
Sound
Description
Ah, Hah, Oh, Hoh
Human rhythm sounds
(glottal attack)
Poo
Keep lips tight, let pressure
build behind lips and
explode
Pf
Simliar set up to Poo, closing
the lips to and f at the end.
Sound
Description
T
Closed Hi-Hat
Tss
Open Hi-Hat
Tf
Variation on open hi-hat
Inhale
Inward open hi-hat
Ut
Closing the hi-hat
Sound
Description
Toom
As written
Doom
As written
Sound
Description
Ksh
As Written
Keesh
As Written
Kiss
As Written
Kss
As Written
Psh
As Written
Vocal Percussion can be essentially described as
glorified consonant production.
Let’s practice some basic patterns together.
We will start with simple patterns, then expand into more
difficult patterns.
Genres provide us with a different sounds, timbres, and
rhythms to work with.
Different styles allow us to experiment with
palette of sounds we have created.
Different genres: Pop, Rock, Jazz/Swing, Hip-Hop
 When “percussing”, I find it helpful to not spit directly into
the microphone. This may cause spit buildup or damage to
the microphone.
 Microphone placement
 EQ
 Clean microphone heads regularly.
• Typically, in an arrangement you may not see a vocal
percussion line written. This could be for a couple of
reasons.
• Allowing creative control for the vocal
percussionist.
• Saving space and time.
• Notation can be written out using syllables to
represent the different vocal percussion sounds
needed to perform.
• In notation software, you can create a one line
percussion stave and input syllables.
• While not common, vocal percussion could be mapped out
in a percussion stave with more than one line.
• This could lead to potential confusion for a vocal percussionist.
• When notating, treat the vocal percussion line just like a
traditional vocal line.
Websites, Vocal Percussionists, Arrangers, and Tips.
• Co-Founded by Deke Sharon and Rex Solomon in 1991
• Considered a resource for media and scholarly work in the area of
contemporary a cappella.
• Purchase Wes’ Mouth Drumming DVD’s
• Vocal Percussion Mapper
Contains online companion guide with mp3 vocal
percussion examples by Jake Moulton.
 Jeff Thacher- Rockapella
 Jake Moulton- Mo5aic
 Wes Carroll
 Kevin Olusola- Pentatonix, Beatboxing Cellist
 Tom Thum- International Beatboxing Champion
 Blake Lewis- Former American Idol Runner-Up
 Andrew Chaikin- “Kid Beyond”
 Adam Motta
 Deke Sharon
 Ben Bram
 Robert Dietz
 Tom Anderson
 Chris Rishel
 Mac Huff
 Glee Arrangers (Brymer, Shaw, Emerson, etc.)
 ALWAYS clean microphone heads Replace when
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necessary.
Stay Hydrated.
I use Biotene.
Treat vocal percussion as if you were playing another
instrument or preparing your voice for performance.
Start slow and set reasonable goals.
Practice along with music. Listen and analyze a
percussion part and try to emulate in your own way.
Question/Answer
Session
Justin Glodich
NY Representative, A Cappella Education
Association
PreK-12 Choral Educator
Eldred Central Schools
[email protected]
[email protected]