Chords for Live from the Larynx EP.4 - A Non Traditional Voice (Tom Thum)

_ [Ab] _ _ _ _ _ _ [Db] _
_ _ _ _ [E] _ _ [A] _ _
[Ab] _ _ _ _ _ _ _ [Eb] _
_ [E] Today, I'm visiting Bernadette Dutton of L'eau Cuise Speech Pathology.
I got so [Gb] overwhelmed by all the shiny [Abm] things that I forgot to film an establishing sequence.
Still, we were very warmly welcomed [Gb] into her clinic [Eb] for a traditional assessment of a rather
non [Ab]-traditional voice. _ _
[Gb] Tom, I'd like you to [N] say an ah sound for me for as long as you can.
So take the biggest breath you can and just do a long ah _ for as long as you can and I'll time you. _ _
_ _ Ah. _ _ _ _
_ Ah.
_ _ _ _ [D] _
_ _ _ _ _ _ _
I think I can get higher than that.
That is [N] wonderful.
Look, the maximum was _ _ _ _ 1923 hertz.
That is very high.
That is extremely high.
Whereas men's range is around anywhere between, the average pitch of a male is around 100
hertz _ and a female is about 200.
So that's high.
It's not what we usually use in speech.
However, you're using it as entertainment.
_ _ You're using it as entertainment and bringing it high tongue and narrow through there.
Now the other thing you also do is you're using digital pressure against the larynx
to get a different sound.
So if I'm going like that and I get a different sound, whereas you can change the sound just by_
Yeah, so just by tapping my throat, I generally just change the pitch of something as well.
_ So every time I tap, I will go to a different note.
So I'll go like_ _ _ _ _ _ _ _
_ _ _ _ _ So basically anything _ that you can physically manipulate from the exterior, you can create
a different sound from.
So even with the cheek as well, _ _ [Dm] like_
_ [B] _ _
_ _ _ _ _ _ And the nose, _ [N] like_ _ _ _
There's so many different ways to_
And I can't think_
Yeah, that is it.
You've used those sounds that we don't normally use in speech.
You're trying to use_
And you're creating fantastic new sounds.
[Am] Yeah.
You don't have to analyse or assess or repair.
Yeah, there's so many different mechanisms that you can kind of put into play to alter
the sound of the human voice.
_ [Em] After a series of rather loud emasculating [D] tests to establish [Em] my vocal range, we moved
on to my [Em] breathing and diaphragmatic control.
All beatboxers rely [N] heavily on their breathing, so we decided to explore mine a little further.
So I wanted to just highlight how much you're using your breathing when you do your beatboxing
and I just noticed how _ _ _ _ _ _ _ clavicular breathing, with the shoulders come up to get a little
quick shallow breathing and then there's chest breathing and then there's that diaphragmatic breathing there.
So can you do a couple of your short ones, your sort of quick inhalation type _ beatboxings?
Yeah.
_ _ [D] _ _
[N] _ _ _ _ _ So notice [D] that, keep going.
_ Chest coming up, [N] _
rapid breathing, _ _ quick breath, _ inhalation. _ _ _ _ _ _
So there's a lot of that fast breathing in and out.
Is there anything you do that's more sustained that comes from diaphragmatic breathing?
You need a big sound or_
Maybe like some of the [G] like_
[Ab] Yeah.
_ _ _ Okay, short breath there. _
_ _ _ Break and roll. _ _
_ _ _ _ _ _ [N] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [A] So that's all like_
You can do that as long as you could almost until your body went, hang on, take a breath.
Yeah, exactly.
You're going to get sick.
Yeah, well that's all inwards breaths.
Inwards breaths, you're getting all that air from out.
There's plenty of it, but it's how your body will need to balance that out.
Sometimes I get pretty dizzy.
Lightheaded?
Yeah, if I'm doing like one particular pattern for a long time_
I would not be surprised.
Yeah, there's been times where I've been like, oh God.
Yeah, because you're just getting all that oxygen from out and you're not allowing any_
You're only like controlling _ a little bit of the carbon dioxide and the oxygen to leave,
but you're going to get an imbalance.
So yes, you wouldn't want to do that for too long.
Yeah, right.
There you go.
I wonder what beatboxing at [Gb] altitude would be like.
_ _ _ _ _ I think what you've done is, again, _ you're breathing normally now.
When you speak, you're breathing well.
It's just that when you're doing your beatboxing, you're just using your _ inhalation,
your exhalation and the way you control your chest and your [Ab] breathing so differently
to support that [E] sound that you want to get.
And so just in terms of everything that you've seen,
the actual anatomical makeup of what's inside, like what's under the hood.
Yeah.
Is pretty much the same as what you've seen.
It's just more so the way I use it, which is different.
I think, you know, it is your _ [Abm] anatomy is unique to you,
but it's all structurally intact and no abnormalities.
There's nothing abnormal in any of the presentation looking in your scope.
The ENT said it was all normal.
Where you spent time perfecting that sound.
It's like a higher intelligence for vocal percussion.
So once again, we found nothing abnormal about my laryngeal anatomy.
We did, however, discover that my vocal range is higher than the average man,
which I suspect [B] inhibits my capacity to grow a luxurious beard.
We [Ab] also highlighted the beatboxers' unique ability to manipulate breathing patterns while [Gb] forming sounds.
[B] In the next episode, [Bbm] we're going to focus on some of my favorite beatboxers from [Abm] around the world
and explore the diverse range of styles and techniques that are out there [Bb] reverberating [Gb] around the ether.
[Ab] Till next time, PEACE! _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _