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	Comments on: Ack Värmeland, du sköna (Dear Old Stockholm) – Polyphonic Overtone Singing a cappella	</title>
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	<link>https://www.oberton.org/en/ack-vaermeland-du-skoena-dear-old-stockholm-polyphonic-overtone-singing-a-cappella/</link>
	<description>The art of singing two tones at the same time</description>
	<lastBuildDate>Fri, 07 Aug 2026 04:36:59 +0000</lastBuildDate>
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		By: PUTI		</title>
		<link>https://www.oberton.org/en/ack-vaermeland-du-skoena-dear-old-stockholm-polyphonic-overtone-singing-a-cappella/#comment-12606</link>

		<dc:creator><![CDATA[PUTI]]></dc:creator>
		<pubDate>Fri, 07 Aug 2026 04:36:59 +0000</pubDate>
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					<description><![CDATA[Beautiful performance! I really enjoyed how this arrangement transforms the classic Swedish folk song “Ack Värmeland, du sköna” (known in jazz as “Dear Old Stockholm”) into a captivating example of polyphonic overtone singing. The ability to produce a bass line and an overtone melody simultaneously is both technically impressive and musically expressive, giving this familiar melody a unique and almost ethereal character. The accompanying story about the author&#039;s connection to Swedish choral music and the inspiration behind the arrangement adds a personal touch that makes the performance even more meaningful.]]></description>
			<content:encoded><![CDATA[<p>Beautiful performance! I really enjoyed how this arrangement transforms the classic Swedish folk song “Ack Värmeland, du sköna” (known in jazz as “Dear Old Stockholm”) into a captivating example of polyphonic overtone singing. The ability to produce a bass line and an overtone melody simultaneously is both technically impressive and musically expressive, giving this familiar melody a unique and almost ethereal character. The accompanying story about the author&#8217;s connection to Swedish choral music and the inspiration behind the arrangement adds a personal touch that makes the performance even more meaningful.</p>
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