Was ist Obertongesang?
Die Kunst, zwei Töne zugleich zu singen
Obertongesang ist eine Gesangstechnik, die den Höreindruck einer Mehrstimmigkeit erzeugt, indem sie durch Kontrolle der Resonanzen im Vokaltrakt einzelne Obertöne aus dem Klangspektrum der Stimme so herausfiltert, dass sie als getrennte Töne wahrgenommen werden. [(Saus 2004)]
Hörprobe aus Pianoo – Harmoniversum
Kurzfassung
Es ist verblüffend, wenn ein einzelner Mensch zwei Töne gleichzeitig singt. Etwa zwei Oktaven über der normalen Stimme klingt plötzlich ein zweiter flötenartiger Ton, der kristallklar und kaum ortbar im Raum zu schweben scheint. Der Klang erinnert an eine Glasharfe, exotisch und doch merkwürdig vertraut. Er berührt auf eigentümliche Weise, wirkt beruhigend und ist beinahe körperlich spürbar.
Kann das jeder?
Ja, jeder der sprechen kann, kann auch Obertonsingen lernen.
Wie klingt Obertongesang?
Brahms, „Guten Abend, gut‘ Nacht“ in Bass und Sopran gleichzeitig.
Woher kommt Obertongesang?
Die Stile entstanden unabhängig voneinander. Westlicher Obertongesang stammt aus Europa und nicht etwa aus der Mongolei, wie oft behauptet wird. Altaiische Stile der Turkvölker sind untereinander verwandt. Weniger bekannt sind Obertongesänge aus Afrika, Papua Neuguinea, Tibet. Hier gibt’s eine Stile Übersicht:
Wie geht Obertonsingen?
Mit Zungen-, Lippen- und Kieferbewegungen werden die Resonanzen im Mund- und Rachenraum so kombiniert, dass einzelne Obertöne so laut klingen, dass sie als Einzeltöne wahrgenommen werden.
→ siehe unten
Der Trick: Doppelresonanz
Das Geheimnis des Obertongesangs ist Doppelresonanz – das Zusammenlegen von zwei Resonanztönen, die im Rachen- und Mundraum (Vokaltrakt) entstehen [(Kob, Neuschaefer-Rube, und Saus 2001), (Matern u. a. 2001), (Neuschaefer-Rube u. a. 2002), (Saus 2009)]. Das kommt in der deutschen Sprache nicht vor. Deshalb ist Obertongesang nicht so leicht von allein zu entdecken, obwohl er prinzipiell nur aus exotischen „Vokalen“ besteht.
Die tiefsten drei Resonanzfrequenzen im Vokaltrakt können willkürlich in der Tonhöhe verändert werden. Das macht man mit Mund-, Lippen- und Zungen- und Kehlkopfbewegungen. Vokale entstehen durch die ersten beiden Resonanztöne, für jeden Vokal eine spezielle Tonhöhe.
Beim Obertongesang wird der dritte Resonanzton hinzugenommen und auf die Tonhöhe des zweiten abgesenkt, indem man einen zusätzlichen Hohlraum unter der Zunge bildet.
Der so erzeugte Doppelresonator wird dann präzise auf einen Oberton abgestimmt. Der Effekt: der Oberton wird wesentlich lauter als seine Nachbarn, was den Eindruck erzeugt, dass man höre zwei Töne, nämlich den Sington und den verstärkten Oberton. Wandert man mit dem Doppelresonator von Teilton zu Teilton, entsteht der Eindruck einer Obertonmelodie.
Obertonsänger erzeugen also die Melodie mit der Form des Vokaltrakts, nicht mit den Stimmbändern. Der zweite Resonanzton bestimmt dabei die Tonhöhe. Der dritte Resonanzton dient der Verstärkung.
In Wirklichkeit hört man nicht zwei, sondern immer noch alle Teiltöne. Aber die Klangfarbe, die durch den isolierten Oberton entsteht, ist so ungewohnt, dass das Gehirn nach einem Vergleich mit Bekanntem sucht und so dem Bewußtsein mitteilt, dass eine Flöte und ein Sänger gleichzeitig zu hören seien. Obertongesang ist also eine Art akustischer Täuschung.
Tatsächlich hört jeder den Obertongesang etwas anders. Manche Menschen empfinden mehr oder weniger Vokalcharakter und assoziieren den Klang des australischen Didgeridoos. Andere hören den Flötenton so klar und getrennt, dass sie nicht glauben können, dass er von der Stimme kommt. Diese unterschiedlichen Wahrnehmungen hängen mit der individuellen Klangverarbeitung zusammen (vgl. Wie Obertöne im Gehirn wirken).
Dieser Doppelresonator kann über mehr als eine Oktave variiert werden. Die meisten Obertonsänger wissen nichts davon. Sie können trotzdem gut Obertonsingen, weil sie über lange Zeit intuitiv gelernt haben, die Resonanzen zu steuern. Wer allerdings die Zusammenhänge kennt, lernt das Obertonsingen wesentlich schneller und kann das Obertonsingen ganz gezielt optimieren. Wenn Du einen Lehrer für Obertongesang suchst, achte darauf, dass dieses Hintergrundwissen vorhanden ist. Das spart Zeit und Geld.
Stimme als Doppelinstrument
Unsere Stimme besteht aus 2 Instrumenten:
- Der Primärklang (Sington) wird im Kehlkopf gebildet und besteht aus einem Akkord von Teiltönen (Sinustönen) plus Geräuschanteil.
Er erzeugt die Grundtonhöhe. - Die Resonanzen im Vokaltrakt (Mund, Rachen, Nase) modulieren die Lautstärken der Teiltöne. Sie erzeugen die Klangfarbe. Beim Obertongesang erzeugen sie die Melodie aus Obertönen.
Stimme = Primärklang + Resonanz
Das entspricht dem klassischen Quelle-Filter-Modell der Stimme. Neu ist jedoch, dass beim Obertonsingen die Resonanzen als zweites Melodieinstrument eingesetzt werden. Dass Resonanzen tongenau gestimmt werden können, ist im Allgemeinen nicht bekannt und wird in der klassischen Gesangspädagogik nicht gelehrt.
Obertöne sind ein natürlicher Bestandteil der Stimme. Sie klingen in der Stimme immer mit. Ein normaler Sington besteht aus einem Bündel von Teiltönen (zum Unterschied Teilton / Oberton siehe hier).
Dieses Bündel bildet einen speziellen harmonischen Teiltonakkord, den wir normalerweise als Ton mit einer Klangfarbe hören. Die Klangfarbe entsteht durch die Lautstärkeverteilung der Teiltöne. Die Lautstärkeverteilung im Bild ergibt z. B. den Vokal ä.
Wird ein Oberton nun wesentlich lauter als seine Nachbarn, dann wird er plötzlich als getrennter Ton wahrgenommen. Beim Obertongesang geschieht genau das. Man nutzt dabei extreme „Vokale“, die in der Sprache nicht vorkommen. Obertongesang ist in gewisser Weise eine akustische Täuschung, denn es wird ja tatsächlich nur ein Ton gesungen, der sich jedoch wegen einer extremen „Aussprache“ wie zwei Töne anhört. Man könnte aber auch sagen, er ist eine aktustische Enttäuschung: Denn der Ton besteht ja aus vielen Tönen, und jetzt hören wir zumindest schonmal zwei davon, den Grundton und den verstärkten Oberton.
Der Mund- und Rachenraum vom Kehlkopf bis zu den Lippen wird auch Vokaltrakt oder Ansatzrohr genannt. Wie jeder Hohlraum, hat der Vokaltrakt Eigenresonanzen. Diese Resonanzen sind Tonhöhen, die sich mit der Form des Mundraums ändern. Die Resonanzen verändern die Lautstärkeverteilung der Teiltöne im Sington. Dadurch entstehen Vokale. Dass aber die Resonanzen als Melodieinstrument genutzt werden können, ist als Konzept völlig unbekannt.
Rachenzunge & zweiter Formant
Die Rachenzunge steuert den 2. Resonanzton (2. Formant), der Raum unter der Zunge den 3. Resonanzton. Ziel beim Obertonsingen ist es, die beiden Resonanztöne exakt aufeinander zu legen und gleichzeitig einen Oberton zu treffen.
Bei Untersuchungen am Universitäts-Klinikum Aachen fanden wir heraus, dass die Rachenzungenbewegung zusammen mit dem Kehldeckel die Obertöne kontrolliert .
Probiere es mal: Laß die Zunge leicht aus dem Mund heraushängen und sprich mit Knarrstimme und unbewegten Lippen das französische Wort oui oder das englische we aus, am besten in Zeitlupe. Und dann rückwärts, das englische you. Der Vokalübergang i-u und u-i in diesen Worten wird durch die stillgelegte vordere Zunge jetzt ausschließlich von der Rachenzunge erzeugt. Wichtig ist, dass du dir für alle Zwischenvokale Zeit nimmst.
Lade Dir den kostenlosen Overtone Analyzer Free herunter und nimm ein Spektrogramm davon auf. Du wirst sehen, dass sich im Spektrogramm dann nur noch der 2. Resonanzton bewegt.
Mundboden & dritter Formant
Den 3. Resonanzton benutzen wir im Deutschen nicht. Deshalb sind die zugehörigen Zungenbewegungen ungewohnt. Wenn Du die Zunge in L-Position hälst, entsteht unter der Zunge ein Hohlraum. Senkst Du jetzt den Mundboden ab und ziehst die Muskeln seitlich neben dem Zungenbändchen zurück, dann entsteht ein Laut, der dem amerikanischen „r“ [ ɹ ] ähnelt. Stelle Dir eine kleine heisse Kartoffel unter der Zunge vor. Je größer der Hohlraum ist, desto tiefer wird der 3. Resonanzton.
Mit etwas Übung kann der 3. Resonanzton genau auf den 2. abgesenkt werden, die Grundtechnik des Obertongesangs.
Literatur & Quellen
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Hykes, David. “Harmonicpresence.Org.” Accessed January 20, 2013. http://www.harmonicpresence.org/.
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Sklar, Steve. “Steve Sklar’s Online Throat-Singing Lessons.” Accessed January 20, 2013. http://www.khoomei.com/lessons.htm.
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Die erste Version dieses Artikels wurde 2000 veröffentlicht, die erste WordPressverion am 3.8.2013.
Liebe Oberton-Singer,
ein Beitrag im Bayerischen Rundfunk machte mich auf diese beeindruckende Technik aufmerksam.
Seitdem hat es mich nicht mehr losgelassen (spiele auch Piano, Harmonika, Flöte).
Und das Beste daran ist:
Wenn ich meinen Tieren eine selbst ausgedachte Melodie vorsinge,
werden diese sehr schnell gaaanz müüüde und tiefenentspannt bzw.
sind sie binnen einer Minute eingeschlafen :-)
Darum herzlichen Dank für Eure erweiterten Infos,
ich liebe diese Homepage, weil das Austesten
des Spektrums unerschöpflich ist und einfach
unglaublich großen Spaß macht.
Eure Gästin
Ganz herzlichen Dank für diese klare, hervorragend strukturierte und überzeugende Darstellung!
Dadurch wird mir die Hörbarkeit des 2. Tons endlich deutlich.
Ich werde weiter daran versuchen.
so spannend
oberton.org war und ist aus meiner Sicht eindeutig die informativste Webseite zum Thema Obertongesang im deutschsprachigen Raum. DANKE für soviel Informationen und das ganze Engagement und die Zeit, die es erfordert, dieses ständig aktualisierte, wachsende und mittlerweile sogar interaktive lexikonartige Wissen hier zu versammeln und der Öffentlichkeit zugänglich zu machen. Ich bin echt begeistert von dieser Fundgrube für Stimm-Interessierte und Oberton-Fans!!!