Listening Test 2.0: Can you Hear the New Hidden Melody – and a Surprise

Let’s go to the next level! After the success of the first listening test, a new challenge awaits you: can you recognize the new hidden melody? However, this time it is more difficult to hear because the rhythm has been altered more!

A surprise awaits you at the end of the video: the hidden melody is not only audible in singing, but even without any tones! Be amazed and test how far your hearing really goes.

What awaits you in this video:
– A new, more challenging audio sample
– A surprising discovery in the speaking voice
– Tips on how you can further hone your hearing

Test your ear now and let me know in the comments if you spotted the melody at the end!

If you want to learn how to sing overtones and how you can even make a living from it, subscribe to my newsletter.

If you want to know what happens here, check out listening test 1.

 

How Overtones Harmonize Your Brain

Imagine how a simple hearing test could change the world. That’s exactly what’s happening with my hearing test, which is attracting more and more attention – and not just in philosophical and neuroscience circles. But what makes it so special that it garners such widespread interest?

Since 2022, this test has been a key component of a groundbreaking educational concept for children. Developed under the leadership of the Omni Aqua Foundation by Akiko Stein in collaboration with Prof. Mag. rer. nat. Dr. phil. Annemarie Seither-Preisler, Prof. Dr. rer. nat. Peter Schneider, and myself, the concept, named F-dUR – Peace through Primordial Sound, is based on the unique properties of water and overtones. These elements, combined with mindfulness exercises and the synchronization of the brain hemispheres, foster a deep empathic connection with oneself, fellow humans, and nature from an early age. We are convinced that this approach is key to inner peace, which in turn is essential for peaceful and empathetic interaction with each other.

In the video excerpt from a thirty-minute documentary about the F-dUR concept, which you can see here, you’ll dive into the fascinating world of sound. The documentary features exciting interviews with leading neuroscientists and reveals the unexpected power of overtone awareness. This clip is just a taste of the whole story. You can watch the full film, which takes you deeper into this innovative concept, here. Dive with us into the world of sound and discover how a hearing test can do much more than just detect tones – it can build a bridge to deep inner peace and empathy.

BBC Documentary about Wolfgang Saus’ Overtones in the MRI Tube


At the moment you can download the German version of the BBC documentation, e.g. with Mediathekview, from the ZDF Mediathek: 4th Episode, Wonders of Anatomy – Medical Record X – Borderline Cases of Science.
Note: Video and link currently only work from Germany.


Surgeon Gabriel Weston has spent many years studying the functioning of the human body. In the series «Incredible Medicine: Dr Weston’s Casebook» she presents people from all over the world with the most unusual bodies and abilities.

One of them is the unique body control required for overtone singing (from 10:40 min.). In November 2016, a film team from BBC Science Production, Emma Hatherley (production, direction) and Alexis Smith (camera), produced a film at the Institute of Music Medicine at the University Hospital of Freiburg with Prof. Bernhard Richter and Wolfgang Saus.

Live images from the magnetic resonance tomograph show the complex motion sequences in the mouth and throat that are involved in overtone singing. Interviews explain the scientific background of the phenomenon.

Pictures of the Making-of

Links

→BBC Website

Laughing woman holds her ears shut

Do you hear a melody or syllables? – Experience new hearing with Harmonic Awareness Training (HAT)

Diese Hörtransformation öffnet Deine Ohren in nur nur 3:20 Minuten für eine neue Hördimension, die nur ca. 5% der Musiker wahrnehmen: das Obertonhören. Diese Fähigkeit ist essentiell für das Erlernen von Obertongesang. Und es ist Voraussetzung für die praktische Umsetzung von Gesangs- und Chorphonetik.

Hier findest Du die wissenschaftliche Erklärung dazu und den Grund, warum die Erfinder des Heidelberger Hörtests und des Saus’schen Hörtests jetzt zusammen publizieren:

Saus, Wolfgang, Annemarie Seither-Preisler, and Peter Schneider. “Harmonic Vowels and Neural Dynamics: MEG Evidence for Auditory Resonance Integration in Singing.” Frontiers in Neuroscience 19 (August 2025): 1–18. https://doi.org/10.3389/fnins.2025.1625403.

Alle Videos


2004 fand eine Arbeitsgruppe um Dr. Peter Schneider an der Uniklinik Heidelberg, dass Menschen Klänge unterschiedlich wahrnehmen, je nachdem welche Gehirnhälfte die Verarbeitung des Klangs übernimmt. Sie entwickelten den Heidelberger Hörtest, um herauszufinden, ob jemand eher Grundtöne oder eher Obertöne in einem Klang wahrnimmt. →Hier kannst Du den Heidelberger Test machen 

Mein Hörtest ist anders. Er testet, ob jemand eher Vokale oder eher Obertöne in einem Klang erkennt. Im zweiten Teil schult er, die Schwelle zwischen Vokal- und Obertonwahrnehmung zugunsten der Obertöne zu verschieben.

→Video über die Hintergründe.

Saus’scher Hörtest

Höre Dir entspannt das erste Tonbeispiel an. Ich singe eine Folge sinnloser Silben auf einen einzigen Ton. Wenn Du darin eine bekannte Melodie aus der Klassik erkennst, dann herzlichen Glückwunsch, Du hast ein ausgeprägtes Obertongehör und gehörst zu den 5% Menschen, die diese Wahrnehmung spontan haben.

Tonbeispiel 1

Download mp3

Falls Du die Melodie nicht hörst, keine Sorge. Am Ende des Hörtests wirst Du die Obertöne hören.

In den nächsten Tonbeispielen entziehe ich der Stimme mehr und mehr Klanginformationen, die vom Gehirn als Bestandteil von Sprache interpretiert werden. Als nächstes singe ich die Silben,  indem ich nur noch den 2. Vokalformanten verändere. Den ersten halte ich unbewegt in tiefer Lage. Die Silben enthalten dann nur noch Ü-Laute, die Melodie wird für einige jetzt deutlicher.

Tonbeispiel 2

Download mp3

Wenn die Melodie jetzt klar wird, Glückwunsch. Hier hören 20-30% die Melodie. Vielleicht ahnst Du die Melodie aber nur und weißt nicht, ob Du sie Dir nur einbildest. Vertraue der Einbildung. Denn Dein Gehör nimmt die Melodie auf, nur ein Filter in Deinem Bewußtsein sagt, dass die Information nicht wichtig ist. Spracherkennung ist viel wichtiger.

Ich will an dieser Stelle die Melodie preisgeben: Es handelt sich um “Freude schöner Götterfunken” aus der 9. Symphonie von Ludwig van Beethoven. Im Nächsten Tonbeispiel pfeife ich sie tonlos. Dann lernt Dein Gehirn besser, worauf es hören soll. Höre Dir danach nochmal Tonbeispiel 2 an.

Tonbeispiel 3

Download mp3

Geht es besser? Falls nicht, höre Dir das nächste Beispiel an.

Im Tonbeispiel 4 lasse ich die Konsonanten weg. Jetzt hat das Broca-Zentrum, die Gehirnregion für Spracheerkennung, nichts mehr zu tun und gibt die Höraufmerksamkeit an andere Regionen ab.

Tonbeispiel 4

Download mp3

Jetzt sind etwa 60-80% dabei. Wenn Du die Melodie hier nicht hörst, bist Du wahrscheinlich auch im Heidelberger Hörtest als Grundtonhörer eingestuft. Das hat nichts mit Musikalität zu tun. Du bist in Gesellschaft einiger der besten Flötisten, Schagzeuger und Pianisten.

Im nächsten Beispiel verfremde ich den Klang vollständig. Ich senke mit spezieller Zungenstellung den dritten Formanten um 2 Oktaven ab, bis er dieselbe Frequenz hat, wie der zweite. Dadurch bildet sich eine Doppelresonanz, die in der deutschen Sprache nicht vorkommt.

Tonbeispiel 5

Download mp3

Die Technik nennt man Obertongesang. Dem Gehör fehlen jetzt Informationen aus dem gewohnten Stimmklang, und einzelne Teiltöne werden durch die Doppelresonanz so laut, dass das Gehirn die Klänge trennt und dem Bewußtsein mitteilt, es handle sich um zwei Töne.

Wahrscheinlich hörst Du jetzt eine flötenartige Melodie und die Stimme. Obertongesang ist eine akustische Täuschung. Denn in Wahrheit hörst Du mehr als 70 Teiltöne. Die physikalische Realität und die Wahrnehmung stimmen selten überein.

Im letzten Tonbeispiel gehe ich den gesamten Weg rückwärts bis zum Anfang. Versuche, den Fokus die gesamte Zeit auf der Melodie zu lassen. Höre Dir das Tonbeispiel 6 ruhig öfter an, es trainiert das Obertonhören und macht Dich in der Wahrnehmung der Klangdetails sicherer.

Tonbeispiel 6

Download mp3

Unsere Realität entsteht in uns selber. Und sie ist veränderbar.

 

Test Your Rhythm Feeling

On ConcertHotels you will find a test that measures your precision of rhythm feeling. Take the test first. Then try singing overtones while you’re doing the test and write your results in the comment below if you like. I look forward to it.

Enlarged right auditory cortex, Wolfgang Saus.

Enlarged right auditory cortex, Wolfgang Saus.

Overtones are usually sung slowly and meditatively, rarely fast and rhythmically (there are exceptions). Overtone singers process sound more in the right hemisphere, drummers more in the left, says Dr. Schneider from Heidelberg University Hospital. Test here how your brain processes sounds.

Is that one of the reasons? An interesting question that has not yet been examined. I suspect that focusing on overtones, at least for the untrained, draws attention away from rhythm.

In my advanced courses, I experience that at first the intonation and sound quality of the keynote suffers when the focus goes entirely to the overtones. Conversely, concentrating on the keynote causes a poorer overtone quality or even complete loss of control of overtone singing. I can immediately recognize from the sound what a student is concentrating on.

If you want to sing polyphonic overtones, i. e. a fundamental melody and an independent overtone melody at the same time, then both tones must receive equal attention. I have developed special exercises for this purpose, which improve the clean control of both notes after a few hours. It would be interesting to examine whether these exercises have an effect on the feeling of rhythm. I will do the rhythm test in my courses as a before-and-after comparison. I’m curious to see what happens.

What are your experiences with rhythm and overtones?

 

Turning a child's ear

Test: Are you an overtone or fundamental listener?

Take the Heidelberg Hearing Test and find out if you’re processing sound more with the right or left hemisphere of your brain.

Overtone and fundamental listeners in the orchestra (c) Neurological University Hospital Heidelberg

How Your Brain Handles Overtones

Why One Plays Violin and the Other Cello

First published at Universitätsklinikum Heidelberg on 21.08.2005 (Repost with kind permission)

The ability to perceive fundamental and overtones is anchored in the brain / Scientists from Heidelberg publish a study of orchestral musicians in “Nature Neuroscience”

→ Here you can do the Heidelberg listening test yourself

The same sounds can be perceived very differently by different people. The cause resides in the brain. Because the sound of a tone depends on structures in the cerebrum: Those who hear more overtones and thus rather long-lasting, deep sounds have more neuronal cell substance in the hearing centre of the right cerebral cortex, the so-called Heschl’s gyrus (transverse temporal gyrus). Those who hear the root more strongly or prefer short, sharp tones show this characteristic in the left half of the brain.

These are the results of a study published on August 21, 2005 as an online publication of “Nature Neurosciences” and in the September print edition . Scientists from the Department of Biomagnetism at the Neurological University Hospital in Heidelberg, together with colleagues from the Universities of Liverpool, Southampton and Maastricht, examined a total of 420 people, the majority of whom were music students and orchestra musicians.

Musicality independent of hearing type / connection with rhythm recognition

Extensive listening tests were used to determine whether the test persons belonged to the group of “fundamental listeners” or “overtone listeners“. (For each natural tone, a multitude of higher tones are produced in addition to the fundamental tone, which determines the pitch. These overtones complement the frequency spectrum of a tone and give it its individual timbre.) In 87 subjects from both groups, additional brain structures were visualized in the magnetic resonance tomogram and their functions were measured with magnetoencephalography (MEG). MEG is a very sensitive method for measuring brain activity. It measures low magnetic fields generated by active nerve cells in the cerebral cortex.

Overtone and fundamental pitch listeners in the orchestra (c) Neurological University Hospital Heidelberg

Overtone and fundamental pitch listeners in the orchestra (c) Neurological University Hospital Heidelberg
The Heidelberg study has shown that the seating arrangement in a modern symphony orchestra follows the individual ability of sound perception, which is anchored in the left or right hemisphere of the brain. Fundamental listeners with high instruments (e.g. violin, flute, trumpet) are located to the left of the conductor and overtone listeners (e.g. viola, cello, double bass, bassoon, tuba) to the right. Image source: Neurological University Hospital Heidelberg

“These two types of hearing also exist among non-musical people,” explains Dr. Peter Schneider, physicist, church musician and MEG specialist in the Heidelberg research group. However, the processing of music is also linked to the ability to hear the fundamental or overtones.

“Overtone listeners can perceive long-lasting sounds and tones better,” says Schneider. This ability is located in the right hearing center. The fundamental listeners, on the other hand, stood out due to a more virtuoso playing technique and better processing of complex rhythms, which is linked to the faster processing in the left hearing centre.

Singers and cellists are “overtone listeners”.

Orchestral musicians have also selected their musical instrument according to their listening type, according to another study recently presented by Dr. Schneider at a specialist congress. Fundamental listeners prefer drums, guitar, piano or high melodic instruments, overtone listeners prefer deep melodic instruments such as cello, bassoon or tuba. Singers also belong to this group.

Musicality has nothing to do with the types of hearing, but it can also be found in the brain structures. In a publication in August 2002, again in “Nature Neuroscience”, Dr. Schneider and his colleagues from Heidelberg have already discovered that professional musicians have more than twice as much brain mass in the primary hearing centre as non-musical people. In addition, as MEG measurements have shown, their brains react more strongly to sounds.

For further information please contact:

Dr. Peter Schneider

E-mail: [email protected]

Further information on the Internet:

www.idw-online.de/pages/de/news51506

www.klinikum.uni-heidelberg.de/index.php?id=5503

Image source: Neurological University Hospital Heidelberg

Sources

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