Académique Documents
Professionnel Documents
Culture Documents
An Introduction to the
Beeayboll Project
by Seth Dellinger
p.
1
-‐
The
original
Beeayboll
grid
p.
2
-‐
The
Beeayboll
mirror
grid
p.
3
-‐
An
introduction
to
the
Beeayboll
Project
The
Beeayboll
mirror
grid
The Beeayboll Project
(An Introduction)
Beeayboll
is
a
sonic
language
I
invented
in
early
1999
in
the
attempt
to
begin
to
organize
the
music
I
was
hearing
in
my
head,
music
that
I
came
to
realize
I
could
spell.
Originally,
the
language
consisted
of
a
vocabulary
of
eighty-‐eight
syllables,
a
number
that
has
since
doubled
(and
will
likely
continue
to
grow
in
the
future).
The
project
lay
dormant
for
many
years
when
I
was
not
involved
in
music
making,
but
was
picked
up
again
in
early
2009,
and
has
since
been
developed
extensively
as
a
vehicle
for
my
solo
vocal
music.
In
the
future
I
also
plan
to
organize
a
choir
to
perform
ensemble
vocal
music
using
the
same
system.
Speech
as
music
One
of
the
central
ideas
that
led
to
the
creation
of
Beeayboll
was
the
attempt
to
recreate
the
experience
we
have
when
hearing
speech
or
song
in
a
foreign
language
that
we
do
not
understand,
when
we
experience
speech
as
pure
sound
without
referential
meaning.
Simultaneously,
I
have
attempted
to
use
and
develop
structures
already
found
in
normal
speech
in
a
deliberately
musical
way
in
order
to
produce
musical
forms
that
do
not
normally
occur
in
everyday
language.
By
composing
with
meaningless
phonetic
sounds,
I
have
used
Beeayboll
to
explore
the
rhythmic
and
melodic
aspects
of
spoken
language,
unrestricted
by
grammar
or
the
need
to
communicate
semantic
meaning.
From
the
beginning
of
the
project,
I
have
also
regularly
practiced
phonetic
improvisation
-‐
what
in
other
contexts
has
been
called
glossolalia,
or
speaking
in
tongues.
Not
unlike
the
melodic
themes
and
subsequent
improvisations
of
the
jazz
tradition,
my
phonetic
improvisations
often
build
upon
the
momentum
generated
by
the
composed
material.
While
I
am
not
uninterested
in
narrative
and
poetic
expression,
I
have
deliberately
avoided
the
insertion
words
from
English
or
any
other
operative
human
language
into
my
songs.
While
I
am
fascinated
by
language
in
all
its
aspects,
the
Beeayboll
project
is,
above
all,
a
vehicle
to
explore
the
world
of
the
sounds
of
language.
Any
meanings
derived
from
the
music
are
entirely
the
property
of
the
listener.*
Syllabic
and
melodic
phrasing
There
are
no
guidelines
for
pitch
or
rhythm
in
Beeayboll
(although
for
any
given
composition
or
performance
they
may
be
determined
in
any
manner,
including
with
precise
musical
notation).
I
often
restrict
pitch
to
a
single
tone
and
rhythm
to
a
constant
pulse
in
order
to
*
Likewise,
the
project
in
itself
does
not
have
a
political
or
social
message,
or,
at
the
very
least,
does
not
intend
to
have
one.
Yet,
unavoidably,
as
I
have
accumulated
life
experiences
and
simultaneously
meditated
on
my
art,
I
have
found
many
ways
in
which
the
one
reflects
the
other.
There
are
several
matters
in
this
connection
that
I
would
eventually
like
to
discuss.
And
should
any
interest
in
my
work
lead
to
interest
in
my
views
of
the
world,
I
would
feel
that
it
is
only
natural
to
express
my
opinions.
However,
for
the
time
being,
I
shall
leave
those
discussions
that
other
occasion...
concentrate
on
the
music
of
the
syllables
themselves.
On
other
occasions,
I
sing
deliberate
melodic
material,
conceived
without
reference
to
the
syllables.
Yet
another
strategy
I
employ
is
to
allow
the
rhyme
schemes
of
syllabic
sequences
and
the
shape
of
the
syllables
themselves
to
suggest
melodic
and
rhythmic
contours,
accents,
phrases
and
cadences,
not
unlike
the
unconscious
paths
followed
in
everyday
speech
(in
this
connection,
it
has
been
natural
for
me
to
include
as
part
of
my
melodic
approach
the
more
subtle
pitch
glissandi
of
human
speech
in
addition
to
traditional
scalar
melody).
Yet
-‐
once
again
-‐
given
that
Beeayboll
has
no
grammar,
if
there
be
"sentence"
or
"paragraph"
breaks,
they
may
just
as
well
occur
every
couple
of
minutes
-‐
or
not
at
all
-‐
rather
than
after
each
short
thought,
as
ideas
are
normally
expressed
in
human
communication.
And,
because
I
have
so
engrained
Beeayboll's
syllables
into
my
brain/tongue's
muscle
memory,
it
is
just
as
easy
for
me
to
sing
continuously
after
resolving
any
phrase
or
idea
than
to
pause.
"Pausing
in
motion"
in
this
manner
aids
in
the
construction
-‐
even
spontaneously
-‐
of
much
longer
phrases
and
melodic
ideas.
Even
before
I
started
the
project
I
became
fascinated
by
the
tradition
among
Buddhist
monks
of
endlessly
repeating
chains
of
syllables
known
as
mantras.
I
composed
a
series
of
my
own
"mantras"
based
on
the
re-‐ordering
of
syllables
taken
from
the
names
of
family
members
and
close
friends,
committed
them
to
memory
and
cycled
them,
often
for
hours
at
time,
in
my
head.
I
sang
the
mantras
at
length
as
well
and
became
intrigued
by
the
rhythms
created
by
the
combinations
of
syllables,
even
when
sung
as
a
constant
pulse.
These
rhythms
would
remain
constant,
regardless
of
melodic
alterations.
Through
repetition,
the
syllabic
patterns
of
the
mantras
became
as
basic
for
me
as
a
repeating
pitch
on
a
piano
or
guitar,
but
with
the
key
difference
that
they
produced
a
constantly
recycling
and
propulsive
momentum.
To
return
to
the
discussion
of
phrases
and
phrase
endings
in
Beeayboll
(which
in
many
ways
is
nothing
more
than
a
much
larger
version
of
my
previous
mantras),
the
momentum
of
the
syllables
I
have
just
mentioned
creates
what
for
me
appears
as
unique
opportunity
to
fulfill
two
distinct
musical
functions
simultaneously.
To
use
another
analogy
from
the
jazz
tradition,
one
might
say
that
the
syllabic
tracks
traversed
by
a
vocalist
in
Beeayboll
can
be
used
either
to
be
the
lead
horn
or
as
the
walking
bass.
Unfortunately,
the
Beeayboll
choir
that
I
imagine
does
not
yet
exist,
but
in
multi-‐track
recordings
that
I
have
made
thus
far,
I
have
already
employed
these
two
functions
together
in
this
manner.
But
the
further
possibility
of
one
vocalist
filling
both
functions
simultaneously
or
in
rapid
alternation
-‐
and
in
turn,
the
possibility
of
an
ensemble
of
vocalists,
each
of
whom
possesses
this
same
flexibility
-‐
opens
in
my
mind
the
road
to
an
especially
opportune
malleability
in
the
approach
to
musical
time
and
ensemble
interaction.
The
soloist's
seemingly
never-‐ending
phrase
may
fade
into
the
sub-‐strata
of
the
music
by
pausing
in
motion,
and
thus
becoming
the
support
upon
which
a
new
soloist
may
emerge.
Syllables
and
extended
vocal
technique
Shortly
after
restarting
the
Beeayboll
project
in
2009,
I
also
began
to
learn
some
of
the
basic
techniques
of
beatboxing
(or
vocal
percussion),
much
of
which
is
built
upon
the
rhythmic
performance
of
patterns
of
consonant
sounds,
accentuated
by
various
techniques
of
breath
control
and
vocal
shapes
(some
of
which,
by
good
fortune,
were
already
part
of
the
fabric
of
the
Beeayboll
vocabulary).
Beatbox
techniques
have
added
yet
one
more
layer
of
possibilities
for
the
Beeayboll
system,
particularly
in
terms
of
rhythm,
but
also
new
timbres,
such
as
the
sonic
possibilities
of
the
various
methods
of
lip
oscillation
that
beatboxers
commonly
use.
In
addition
to
beatboxing,
other
expressive
methods
I
employ
with
Beeayboll
include
overtone
singing,
the
"normal"
speaking
voice,
sprechstimme,
inhalation
singing,
various
manners
of
nasal
distortion
and
screaming.
Combining
these
techniques
with
the
increasing
"fluency"
I
have
gained
with
the
syllables
of
Beeayboll,
I
feel
closer
to
another
kind
of
vocal
music
that
I
have
long
imagined,
a
vocal
music
not
based
on
speech
or
song,
but
rather
on
the
voice
as
an
instrument,
perhaps
not
unlike
a
saxophone
or
violin
-‐
or
even
a
synthesizer.
The
history
of
vocal
music
in
all
the
various
traditions
of
the
world
suggests
that
there
is
perhaps
no
sound
that
cannot
be
replicated
by
the
human
voice.
In
my
own
experience
of
endlessly
repeating
the
syllables
of
the
Beeayboll
system,
I
have
discovered
that
one
of
the
most
efficient
ways
of
cataloguing
the
thousands
of
possible
variants
of
vocal
shapes
is
by
the
names
given
them
by
language.
And
of
course
each
shape
has
important
properties
and
possibilities
completely
apart
from
the
phonetic
sounds
that
they
create.
The
array
of
overtones
produced
by
singing
through
the
vowels
is
just
one
example
of
this.
In
Beeayboll,
I
often
sing
through
patterns
of
syllabic
vocal
shapes
while
employing
some
kind
of
vocal
distortion
that
renders
the
syllables
themselves
unrecognizable,
yet,
because
I
know
how
they
are
constructed,
results
in
sounds
that
I
am
able
to
reproduce
repeatedly.
Composition
in
the
Beeayboll
system
Thus,
the
Beeayboll
project
has
opened
up
many
avenues
of
exploration
for
me.
In
addition
to
the
musical
sound
of
the
unknown
language,
the
musical
elaboration
of
language's
inherent
rhythms
and
melodies,
and
the
instrumental
exploration
of
the
musical
shapes
encoded
within
language
as
produced
by
the
human
vocal
instrument,
there
is
one
further
aspect
of
language
that
fascinates
me
as
a
composer
and
improviser,
and
that
is
the
idea
that
the
syllables
themselves
may
be
treated
as
an
element
of
musical
structure
on
the
same
plane
as
harmony,
rhythm
and
melody.
If
musical
composition
can
be
described
as
pattern
creation
-‐
the
combination,
layering
and
interweaving
of
melodic,
rhythmic
and
harmonic
patterns
-‐
then,
in
Beeayboll,
syllabic
patterns
are
added
to
the
composer's
arsenal.
In
one
sense
this
is
nothing
new,
insomuch
as
song
lyrics
have
always
filled
this
function,
including
making
artful
use
of
rhyme,
alliteration
and
all
the
other
sonic
qualities
of
language
that
are
described
by
the
study
of
literature
and
poetry.
Modern
rap
music
has
perhaps
taken
this
further
than
any
other
form,
including
the
awesome
ability
of
freestyle
rappers
to
simultaneously
improvise
on
the
planes
of
rhythm,
rhyme
and
narrative.
But
since
Beeayboll
is
meaningless,
the
syllables
are
freed
from
any
other
restriction
to
be
constructed
forwards,
backwards,
left
right,
up,
down,
backwards,
upside
down,
etc.
(much
of
what
I
have
done
with
syllabic
patterns
in
Beeayboll
thus
far
might
be
describe
as
serial
techniques).
Just
as
my
understanding
of
melody,
rhythm
and
harmony
contains
enormous
gaps,
the
same
must
be
said
for
my
current
understanding
of
the
musical
functioning
of
phonetic
sounds.
Despite
my
interest,
I
have
yet
to
pursue
a
serious
formal
study
of
phonetics
and
phonology
and
remain
a
mere
dilettante
in
the
field.
However,
I
have
already
discovered
certain
musical
properties
of
phonetic
sound
-‐
if
nothing
other
than
the
observation
of
certain
qualities
that
are
different
from
each
other
and
thus
may
be
juxtaposed
-‐
that
provide
a
wide
field
of
exploration
for
compositional
pattern
making.
This
includes
the
difference
in
momentum
created
by
the
repetition
of
a
single
syllable
versus
a
chain
of
different
syllables
(even
when
sung
with
identical
pitch
and
rhythm),
the
use
of
the
simultaneous
sounding
of
different
syllables
-‐
what
I
have
provisionally
named
"phonetic
harmony"
(and
the
contrast
between
this
and
the
sounding
of
"unison"
syllables),
and
the
use
of
phonetic
loops
that
may
or
may
not
be
aligned
with
the
melody
or
rhythm
to
which
they
are
sung.
There
are
two
further
compositional
strategies
that
I
have
often
employed
in
Beeayboll
which
I
find
well-‐suited
to
the
system
although
they
are
not
exclusive
to
it,
and
are
also
ideas
I
have
explored
in
non-‐vocal
music.
The
first
is
the
use
of
an
inconsistent
meter,
that
is,
for
example,
a
rhythmic
approach
that
does
not
always
involve
regularly
occurring
downbeats.
This
might
mean
a
mean
measure
of
four
beats,
followed
by
a
measure
of
five
beats,
then
two
measures
of
seven
beats,
a
measure
of
three
beats,
etc.
Another
approach
would
be
to
take
a
lopsided
rhythmic
approach
like
this,
but
then
cycle
it
regularly,
such
as
a
repeating
pattern
of
4,
7,
2,
5,
4,
3
beats.
Although
these
approaches
are
just
as
easily
applied
to
instrumental
music,
I
have
found
them
useful
in
Beeayboll
for
two
reasons.
First,
because
I
think
this
kind
of
timing
mirrors
the
irregular
accents
found
in
normal
speech
much
better
than
the
regular
meter
which
is
usually
only
found
in
certain
forms
of
prose
and
poetry,
as
well
as
musical
lyrics.
Second,
while
such
a
meter
can
be
more
difficult
to
perform,
my
experience
has
been
that
the
syllabic
"words"
of
Beeayboll,
when
conceived
as
such
(rather
than
as
rhythmic
groupings
of
varying
lengths),
fit
well
into
an
irregular
meter
of
this
type.
The
challenge
for
the
performer
is
not
so
much
how
to
count
the
phrases,
but
rather
how
to
pronounce
them.
(Of
course,
in
addition
to
the
irregular
meter
I
have
described
here,
regular
occurring
meters,
such
as
4/4
time,
are
also
commonly
used
in
Beeayboll.)
A
second
compositional
strategy
that
interests
me
generally,
but
that
I
have
found
particularly
fruitful
with
Beeayboll
music,
is
a
multi-‐tiered
approach
to
repetition,
or
looping.
I
first
started
to
explore
this
idea
extensively
with
my
mantras,
described
earlier.
I
usually
recorded
the
mantras
in
text
form
as
four-‐line
poems,
choosing
line
breaks
where
I
felt
the
strongest
rhythmic
cadences.
The
syllables
themselves
were
generally
grouped
together
as
"words"
of
two
to
five
sounds.
When
singing
the
mantras,
in
addition
to
cycling
them
in
their
entirety,
I
would
cycle
individual
lines,
such
that,
if
the
lines
were
called
A,
B,
C
and
D,
a
mantra
reading
might
occur
as
follows:
A-‐B-‐C-‐D-‐A-‐B-‐C-‐C-‐C-‐D-‐D-‐A-‐B-‐C-‐C-‐D...etc.
In
addition,
the
individual
syllabic
"words"
might
be
cycled,
or
the
lines
might
be
cycled
out
of
order
(ie,
A-‐B-‐D-‐D-‐C-‐C-‐D-‐A-‐C-‐C-‐C...etc.).
This
strategy
can
be
used
by
an
improviser,
who
might
mentally
imagine
repeat
bars
that
can
be
inserted
anywhere
at
any
moment,
or
by
the
composer,
who
simply
plans
sequences
in
this
manner.
My
experience
with
"segmented
repetition"
of
this
type
is
that,
while
the
length
of
a
given
pattern
will
change
as
various
parts
of
its
innards
get
repeated,
the
identity
of
the
whole
is
still
quite
recognizable
to
the
listener.
As
mentioned
earlier,
I
find
that
a
sequence
of
syllables
contains
its
own
inner
momentum
quite
apart
from
the
melodic
trajectory
and
metric
placement
that
may
be
applied
to
it.
Taking
advantage
of
this
phenomenon,
I
have
often
used
a
segmented
repetition
of
syllables
while
singing
non-‐repetitive
melodic
phrases.
Beeayboll
structure,
Beeayboll
fluency
My
suspicion
is
that
my
solo
vocal
performances
of
Beeayboll
may
appear
to
many
listeners,
for
better
or
for
worse,
as
the
result
of
the
extended
meditations
and
involvement
of
an
individual
within
a
world
of
his
own
idiosyncrasies.
However,
with
dedication
and
practice,
any
vocalist
can
learn
the
entire
system.
And
while
entering
this
world
involves
a
commitment
to
learning
a
certain
body
of
material
that
is
admittedly
arbitrary
in
many
ways,
I
think
that
those
with
an
interest
in
an
extended
exploration
of
the
meshing
of
speech
and
song
will
find
abundant
opportunities
in
the
Beeayboll
language
to
develop
their
own
unique
voices
and
accents.*
I
have
already
created
the
basic
exercises
and
training
regimen
for
any
singer
to
enter
the
world
of
Beeayboll.
I
have
also
written
an
introductory
essay
on
the
structure
and
functioning
of
Beeayboll**
that
I
will
not
replicate
here,
but
it
will
be
useful
to
briefly
explain
some
of
the
basic
points.
The
Beeayboll
sonic
language
is
derived
from
an
8x11
grid
containing
one
syllable
in
each
of
its
squares.***
Eight
different
sequences
of
these
eighty-‐eight
syllables
were
created
by
traversing
the
paths
running
from
each
corner
to
its
opposite.
A
704-‐syllable
"palindrome"
was
then
created
by
ordering
the
sequences
in
such
a
way
that
the
same
series
of
syllables
would
result
from
either
a
forwards
or
backwards
reading
of
the
entire
chain.
As
the
Beeayboll
project
developed,
another
eighty-‐eight
syllables
were
generated
by
reversing
the
sounds
of
the
originals
(as
was
a
new
version
of
a
grid,
the
"mirror
grid",
containing
both
the
original
and
reverse
syllable
in
each
square****).
For
example,
the
first
syllable,
"bee,"
generated
"eeb."
The
second
syllable,
"ayb,"
generated
"bay."
And
so
forth.
With
these
"backward"
sounds,
another
eight
sequences
of
eighty-‐
eight
syllables
were
created
and
the
original
palindrome
was
extended
to
1,408
syllables.
It
was
now
made
to
be
a
palindrome
in
the
sonic
sense,
such
that
if
it
were
sung
backwards
(were
such
a
thing
possible)
it
would
sound
the
same
as
being
sung
forwards.
*I
am
ready
to
work
with
any
vocalist
interested
in
this
system,
regardless
of
location.
If
you
are
interested,
please
contact me.
**The exercises, together with the introductory essay, are available online at:
http://www.scribd.com/document_collections/2499468
****
see
Beeayboll
mirror
grid,
p.
2
The
exercises
mentioned
previously
can
be
used
by
any
vocalist
to
gain
increasing
"fluency"
in
Beeayboll
("fluency"
in
this
context
simply
means
the
ability
to
flawlessly
pronounce
any
sequence
of
syllables
in
the
grid).
The
basic
goal
of
the
exercises
is
to
gain
the
capacity
to
pronounce
smoothly
any
polyrhythm
from
any
starting
point
on
the
grid.
An
ensemble
of
vocalists
who
are
fluent
in
this
sense
will
make
possible
the
next
stage
in
the
development
of
Beeayboll.
* * * * *
My
hope
for
the
future,
both
as
a
soloist
and
a
composer
of
ensemble
vocal
music,
is
to
use
the
Beeayboll
system,
as
well
as
other
language-‐based
strategies,
to
develop
new
song
forms
that
capitalize
on
the
inherently
musical
qualities
of
speech
and
the
inherent
musical
capacities
of
the
human
speaker.
I
believe
there
is
great
potential
for
a
new
song
form
tradition
of
this
type
that
could
be
further
developed
by
others
who
are
working
in
similar
areas
and
to
which
Beeayboll
will
only
be
but
my
own
small
contribution.
sethbdellinger@gmail.com
http://www.last.fm/music/Seth+Dellinger
http://www.youtube.com/user/beeayboll