Huun Huur Tu at Paléo Festival Nyon 2015 – full concert
The full concert of Tuvan group Huun Huur Tu at the Paléo Festival in Nyon on 26/07/2015.
The full concert of Tuvan group Huun Huur Tu at the Paléo Festival in Nyon on 26/07/2015.
Carmina Slovenica is an exceptional girl choir from Slovenia, or, as they themselves call their performances: Vocal Theater. With overwhelming choreographic charisma the teenagers present here an incredible diversity of vocal techniques and choral traditions from Estonian ancient spells in setting of Veljo Tormis up to overtone singing from Sarah Hopkins. Toxic Psalms of Karmina Šilec was premiered in 2013 in Berlin. Absolutely thrilling.
In addition to the above-featured performance TOXIC PSALMS Carmina Slovenica sing and dance / play extremely different programs, including overtone singing. Presumably, the ensemble is better known for its spectacular performance of Karl Jenkins’ Adiemus (no overtone singing):
The Italian jazz musician Albert Hera, who refers to himself as “Sound Teller”, is a specialist in experimental voice and choir improvisation in the style of circle singing. I really like this little video sample, that allready gained more than 10,000 views on Facebook (June 2015). He demonstrates a vocal range from gigantic 5 octaves in the few seconds, from A1 till G#6, higher than the top tone of the Queen of the night by Mozart, using undertone singing, overtone singing and whistle register, in addition to this a funny musical arrangement.
Source: Facebook – Albert Hera
Simon Grant, former bass and mouth percussionist of Swingle Singers, whistles and sings highly virtuosic the final movement of the 2nd Orchestral Suite in B Minor (BWV 1067), Badinerie, by Johann Sebastian Bach. Ward Swingle, the founder, director and composer of the ensemble, had written a famous version fo Bach’s Badinerie for choir a cappella. Grant sings it here virtually alone. Anyway, he was very creative with his voice. He was one of the first people to introduce mouth percussion in a cappella music (as beatboxing only arose).
In March 2015 I was invited by Tobias Hug, Grant’s successor at the Swingle Singers, to hold a lecture on innovation in choral music. On this occasion we also talked about variants of overtone singing, which Tobias masters too. He drew my attention to this fantastic craft of his singer colleague and sent me this recording.
I am often asked whether overtone singing is a kind of whistling and singing. No, overtone singing is not a whistle, as you can hear the difference in the recording. Whistling uses air turbulence on the lips for producing sound, while overtone singing brings the voice partials in resonance. But whistling uses similar resonance chambers to adjust the pitch.
Fu Acune is the name of a new duo by Natasha Nikeprelevic and F.X. Randomiz. Electronic club music combined with vocal art. On the track mhmmhm Natasha Nikeprelevic uses her crystal clear overtone singing.
https://www.facebook.com/fuacune
A spherical overtone choir arrangement by the Polish overtone artist Michał Esz Szerląg with overtone and undertone singing.
The bizarre video Karmacoma of the English trip-hop group Massive Attack came to the UK charts in 1995 as a single, at a time when Central Asian throat singing was becoming popular in Europe. The overtone singing is probably a remix of Tuvinian throat singing. (Thanks to Bram Vanoverbeke for the tip).
Dean Frenkel is one of my favorite overtone singers. His clear, sparkling cleanly homophonic overtones bring out the special effect of the natural intervals in harmony with classical instruments particularly impressively. In “Iridium” he sings the 5th harmonic, the natural major third, to the minor third in the instrumental part, which I like very much in this piece.
In my overtone singing Masterclasses (year groups) I teach my students to avoid this conflict and to skip the 5th and 10th harmonic in a minor setting, or to replace them with polyphonic fundamental tone changes. Because almost all, even professional overtone singers improvise on the overtone series simply uncontrolled up and down, without even realizing that the natural major third is in conflict with a minor accompaniment, which I mostly do not like. Especially if the keynote becomes unclean, which usually happens.
I don’t know whether Dean Frenkel sings this interval in the composition consciously and deliberately, but I suspect so. Because of the fact that he sings his keynote so clean, the special effect of the 86-cent hovering of an equal-tempered minor third to the natural major third unfolds to a pleasure for me.
The film by cinematographer Murray Fredericks, producer Michael Angus and editor Lindi Harrison belongs to the SALT project, saltdoco.com, and shows in fast motion the miraculous change of Lake Eyre in Australia, which is rarely filled.
The music is from Dean Frenkel’s former group Aajinta – Dean Frenkel, Jason Day, Michelle John.
dp.O.Ton Projekt from Berlin, with a wonderful Daniel Pircher – overton singing, Stefanie John – campanula, Marc Miethe – didgeridoo.
http://www.overtone.cc/profile/DanielPircher
Wolfgang Saus
Hirschbach 1
91602 Dürrwangen
Deutschland
Tel.: +49 163 6237866
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