„Oh, du stille Zeit“ – Christmas Magic with Choir and Overtone Singing

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In this special Christmas video, I invite you to discover a fascinating excerpt from Jan Heinke’s unique arrangement of “Oh, du stille Zeit”. The piece, performed by the renowned professional ensemble AuditivVokal Dresden under the direction of Olaf Katzer, is a real gem of sound – and I, Wolfgang Saus, had the pleasure of being part of this project as overtone soloist.

What makes this piece so extraordinary are the shimmering overtones that lend the music a spherical depth and create an almost enraptured atmosphere. The polyphonic overtone arrangement is particularly remarkable: fundamental and overtone melodies move independently in different directions. This technique, the highest art of Western overtone singing, requires not only vocal precision, but also masterful control over the resonances of the vocal tract.

Staves for the Magic of Polyphonic Overtone Singing

Here is a small excerpt from the score. It will show you the fascinating structure and magic behind the tone setting. Polyphonic overtone singing is written differently by composers.

Jan Heinke wrote the overtones of all the voices as a separate group of instruments in an accolade, which is an advantage for conductors because they form a sound group. However, in my experience and many experiments, it is much easier for singers to read if the overtone and fundamental parts are written as a two-line accolade, with the overtones at the top and the fundamental part at the bottom.

The indication of partial tone numbers replaces microtonal accidentals, which would again complicate the reading. Overtone singers “know” that a 7th harmonic is to be sung 31 cents lower and a 5th harmonic 14 cents lower.

Notenabschnitt von polyphonem Obertongesang aus Jan Heinkes Chorsatz "Oh du Stille Zeit".

Through the Darkness with the Power of Music

At the time of the performance in 2023, however, my life was not free of challenges: I only had less than 10% vision left, which made any kind of work and especially reading music a huge strain. Since June 2024, my sight has been fully restored thanks to successful surgeries. But it was precisely during this difficult phase that the music and the fantastic collaboration with the ensemble – which I was also able to teach overtone singing at a professional level during this time – gave me endless strength and confidence. Many thanks to Olaf Katzer and AuditivVokal!

I hope you enjoy listening, marveling and discovering – and perhaps you will feel a little of the quiet beauty of this special composition yourself!

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

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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.

 

Wolfgang Saus Lecture (German): Overtones – Discover the Magic of Your Voice!

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Overtones – Discover the Magic of Your Voice

A lecture on the effect of overtones at the Symposium Music Resonance 2024 in Bad Zwesten: Discover the magic of your voice – Experience fascinating sounds, calm your mind and create unique worlds of sound.

This lecture is currently going a bit viral, with 10,000 views in just two weeks, which makes me very happy. Because I think the content is absolutely worth spreading – of course, otherwise I wouldn’t be giving it. I truly believe that with the voice and enhanced listening you can change consciousness and the world and create the new world we wish for.

Quotes from the comments:

“It’s 0:40 and I can’t interrupt this.”

“I don’t think I’ve ever met anyone who has such a multispectral intelligence. You share something, you have something to say.”

“YouTube suggested a real gem of a video to me; I’m flashed; it’s totally fascinating.”

“I had so much planned for today. I listened to the lecture instead. So incredibly good.”

Labia Mea for 8 voices a cappella (2016) – Vahram Sarkissian

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Labia Mea (2016)

Vahram Sarkissian

8 mixed voices a cappella

Premiere: 2016, Vahram Sarkissian (alle Stimmen), online

In a groundbreaking artistic endeavour, Armenian-Canadian composer and vocal artist Vahram Sarkissian performs “Labia Mea”, his captivating composition for 8 mixed voices a cappella that pushes the boundaries of vocal possibilities to incredible heights. This experimental work is the result of three years of tireless research and meticulous experimentation with extended vocal techniques.

“Labia Mea” seem like an unbelievable achievement to me, as Vahram Sarkissian actually recorded all eight vocal parts, originally written for an 8-part mixed ensemble, on his own. The range of the composition is nothing short of spectacular, spanning seven octaves, approximately H1 (B0) to d5 (D8), and encompassing a breathtaking sonic palette. Such a wide range envelops the listener in a tapestry of sound that can hardly be attributed to earthly voices.

The work ventures into uncharted territory, using a wealth of unconventional techniques that defy traditional norms. From the haunting melodies of throat singing to the hypnotic harmonies of overtone singing, from the rhythmic intricacies of vocal percussion to extreme registers, Labia Mea pushes the boundaries of what the human voice can do.

Inspired by Psalm 50 (“Domine labia mea aperies”), the composition embarks on a journey of self-expression. As the piece progresses, a process of text accumulation develops, gradually moving from ethereal sounds to compound phonemes, then to words and finally to the full text.

“Labia Mea becomes a profound manifestation of the inner struggle for self-expression. Every facet of the human experience finds its voice in the composition, with intellectual perception, emotional depth and spiritual insight all vying for attention. As Vahram Sarkissian weaves these elements together, a symphony of self-discovery unfolds that resonates with the listener’s own search for authenticity.

At a time when music often follows familiar patterns, Vahram Sarkissian challenges convention and dares to redefine what is possible. Be captivated by the wonders of ‘Labia Mea’ and witness the transformative power of a single voice pushing the boundaries of artistic innovation.

 

A big thanks to Olaf Katzer, the director of AuditivVokal Dresden, who brought this composition to my attention. AuditivVokal has been working closely with me over the past few months to achieve a professional level in overtone singing. This enables the ensemble to master works with demanding extended vocal techniques and take on additional composition commissions.

If you are interested in efficient professional overtone singing training for your choir or professional ensemble, feel free to schedule an informal conversation, either by phone or using the appointment planner. I have specialized in working with singers for 40 years and am available to assist you.

To schedule an appointment, please visit Appointment Booking (mention in the comments that it’s for a free conversation).

Still, still, still – for Overtone Singing and Keys

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Still, still, still is an Austrian Christmas carol from the Salzburg region. It first appeared in print in 1865 in a collection of carols with the following text, which is no longer common today:

1. Sleep, sleep, sleep, my precious baby sleep!
Maria sings a lullaby sweet
And lays her true heart at your feet.
Sleep, sleep, sleep, my precious baby sleep!

2. Great, great, great, the love is more than great.
God has left his throne on high,
To walk the street, to come us nigh.
Great, great, great, the love is more than great.

3. Rise, rise, rise, all Adam’s children rise.
O, kneel at the feet of Jesus now,
Our sins to atone he did vow.
Rise, rise, rise, all Adam’s children rise.

4. We, we, we, ee all implore Thee:
Open for us heaven’s gate
Let your kingdom be our fate.
We, we, we, – we all implore Thee.

5. Rest, rest, rest, allow the Child to rest.
Saint Joseph snuffs the candle out,
Angels are guarding all about.
Rest, rest, rest, allow the Child to rest.

(Translation wikipedia)

Performers:
Michael Reimann – Keys
https://michaelreimann.de/
Wolfgang Saus – Overtone Singing
https://www.oberton.org/
Video – josephphackney pixabay
https://pixabay.com/

What a sound! – Young Ensemble Dreden, Olaf Katzer, Jan Heinke

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Such sounds cast a spell over me. Those who know me know how much contemporary choral music touches me. And as an overtone singer, I have been trying to bring overtone awareness to choirs for almost four decades. I am all the happier when composers who know something about overtone singing write choral music.

Jan Heinke is an absolutely exceptional musician. We have been friends for many years now, and Jan never fails to impress me with his deeply reflective worldview. His music is unique in the world, his playing on the steel cello he built, his ultra low bass and the virtuosity of his overtone singing. The Junge Ensemble Dresden under the direction of Olaf Katzer is one of the top chamber choirs in Germany and one of the select ones dedicated to contemporary classical music at the highest level.

You find the CD here: https://jungesensembledresden.de/cd

CD „Licht über Licht“
Performer: Junges Ensemble Dresden
Artistic direction: Olaf Katzer
Soloist overtone singing: Jan Heinke
Total playing time: 61:30

Jan Heinke: http://www.janheinke.de/, http://www.stahlquartett.de/

“Es ist ein Ros entsprungen” – for Overtone Singing and Piano

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Noten aus dem Speyerer Gesangbuch 1599 - Es ist ein Ros entsprungen“Es ist ein Ros entsprungen” is a Christmas carol from the Speyerer Gesangbuch 1599. Here as a version for piano (Michael Reimann) and overtone singing (Wolfgang Saus).

The challenge for overtone singers here is especially the intonation conflict of the natural overtone thirds with the equal-tempered ones of the piano. In this version, I have partially adjusted the overtones to match the equal-tempered tuning, resulting in “out of tune” fundamental tones. The alternative of intonating the harmonics in relation “out of tune” is found by some to be cleaner overall. An interesting experiment. Piano and overtones never fit together exactly because, except for the octave, none of the piano intervals correspond to the natural harmonic order. I think it sounds delightful nonetheless.

Free sheet music here.

Performers:
Michael Reimann – keys
https://michaelreimann.de/
Wolfgang Saus – overtone singing.
https://www.oberton.org/
Video – caelan, pixabay
https://pixabay.com/

“A ship is coming laden” (“Es kommt ein Schiff, geladen”) – Overtone Singing

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“A ship is coming laden” (“Es kommt ein Schiff, geladen”) is one of the oldest Advent hymns in German. It was written before 1450. The oldest record of the melody is found in the Andernacher Gesangsbuch, Cologne 1608.

A rhythmic rarity in old hymns is the change from a 6/4 to a 4/4 meter in the middle of the song. The Dorian part of the first part of the song ends on the minor third, while the second part turns to Lydian from the new root and returns to the Dorian finalis at the end.

Keys with minor thirds make fundamental changes unavoidable in overtone singing, because the natural overtone series is tuned to major.

If you would like to sing the song, you can download the free sheet music here.

The recording is a spontaneous improvisation by pianist Michael Reimann, who later orchestrated his piano part, and overtone singer Wolfgang Saus. Spontaneous improvisation with changing fundamental tones requires quite some experience.This can be acquired by re-singing the free collection of sheet music.

Performers:
Michael Reimann – keys
https://www.oberton.org
The video is from Thomas Ritter, Pixabay:
https://pixabay.com/videos/glass-sphere-spherical-moon-winter-7380/

David Harris – Neque Diliges

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Neque Diliges

Composition by David Harris, 2021, for mixed 6-part choir with overtone singing.

Performed by Laude, David Harris – conductor, 2021.

Sheet music: https://www.seeadot.com/store#!/Neque-Diliges/

 

A Costly Final Chord

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How Things Fall. He had little time to arrange his piece for Nordic Voices, says Koka Nikoladze, born in 1989 in Georgia, now living in Norway, composing and inventing instruments. How Things Fall and then spectrally spray, “How Things Fall,” 2021, performed by the Norwegian professional ensemble Nordic Voices, known for brilliantly handling overtone singing (from 1:44). Nikoladze keeps the final chord from us. He auctioned the final chord on ebay and realized $13,900. I love the Nordic self-irony, just right for lockdown times.