The Deutschlandfunk Kultur broadcasts on Thursday, 28 February 2019 from 22h to 22h30 a radio feature about the European Overton Choir. The EOC is an experimental project choir that once a year from Easter Monday invites interested singers for a week to experiment with the potential and new sound possibilities of overtones in choral music. Works will be sung by notes as well as improvisations developed with new methods.

DLF Kultur, Thursday 28. Feb 2019, 22:00 h

European Overton Choir, next project week 22.-28. April 2019

A composition by Aaron Jensen, Canada 2012, for mixed choir a cappella and overtone soloist.

SSAATTB + overtone singer soloist (khoomej style) 6’00″

Text by Uvavnuk – translation: Jane Hirshfield

Commissioned by The Toronto Arts Council

Premiere: 12.05.2013 — The Elmer Iseler Singers, conductor Lydia Adams

Guest overtone singer: Scott Peterson

More about the composition on Aaron Jensen’s website.

The Latvian a cappella group Cosmos (2002 – 2009,2015…) is characterized by extraordinary sounds and own arrangements, including overtone singing, as here in “Sunrise” (Saullēkts). Their shows are also remarkable. More on their YouTube-channel.

Carmina Slovenica – TOXIC PSALMS / Ultimate collective experience

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):

In October 2014 the composer surprisingly sent me the link to this video. “Der Bootssteg” by Günther Beckers was my very first production with overtone singing in 1986. I hadn’t heard of it since then and, to be honest, I had even forgotten that I had already made music with overtones back then.

In 1983 I was on stage with Roberto Laneri for the project “Nada Brahma – Die Welt ist Klang” by Joachim Ernst Berendt. For the first time in my life I heard overtone singing and was deeply moved so that I immediately realized that overtones would change my life. I taught myself how to sing overtones with many experiments, without the slightest idea of how it worked, only from the memory of the sound, without the possibility to listen to recordings. And I couldn’t find out Roberto Laneri’s phone number. It’s amazing how contemporary the work still sounds today, then an experimental innovation.

→More about the composition

In the recording: Marie-Dagny Wennberg from Sweden – alto, Wolfgang Saus – baritone overtone singing, members of the Collegium Byzantinum Aix la Chapelle, studio mix by Miki Meuser, acoustic rooms of the Institute for High-Frequency Engineering at Aachen University. Digital artificial head recording (also new at that time).

1986 was a year of extraordinary music projects for me. After an intensive with a professional ensemble in a master class of the Swedish exceptional choir leader and later successor of Eric Ericsons, Anders Eby, it became even clearer to me that the secret of professional choral sound lies in the overtones.

I had just received a solo contract at the Municipal Theatre Aachen for the premiere of the opera “Chimäre” by the Munich composer Hans-Jürgen von Bose and rehearsed the difficult score including polyphonic tape recordings. At that time I loved avant-garde and experimental music and was able to easily sight read scores, so that I rehearsed new music with much joy.

At the same time, Günther Beckers, painter and composer, approached me with his composition “Der Bootssteg – Hallkammer und schalltoter Raum” (“The jetty – reverberation chamber and anechoic chamber”). It was my part for overtone singing. It was played as a media production on the occasion of an exhibition at the Venice Biennale. In 1984 I had already worked with Günther Beckers and performed “Anna – ein neuer Mensch” (video), a co-production of Günther Beckers with Miki Meuser (no overtone singing yet). I found the project so exciting, because it fit exactly to my question about the sound secret of choral music.

Back then I had no idea if you could make purposeful music with overtones at all. My overtone technique was still uncertain. There were no teachers or I knew nobody except Laneri. In 1986 I had not yet heard of Michael Vetter or David Hykes. That was a challenge, because I studied chemistry at the same time and sang in six choirs and had rehearsals every day. Young and unstoppable when it came to sound. Except “young” not much has changed ;).

I am happy that this rarity has now emerged.



The Munich a cappella group Mundwerk sings Brother Jaques not only with voices in canon, but also with overtones. My student and master class graduate Oliver Zunker (now no longer with the group) sings together with his colleague Jens Ickert the canon exclusively with overtones. Oliver himself is an excellent overtone teacher, as you can hear. I think the whole choral arrangement is superb!

All tones of the melody are already contained in a single keynote (harmonic 6 to 13, cf. composing with overtones). So you can sing them on one fundamental note.

Here you can download the sheet music for free →

Sources & Links


VChN-Weiterbildungstag 2020 – CHORPHONETIK-WORKSHOP MIT WOLFGANG SAUS (Deutschland)

→Zur Website des VChN

Donnerstag, 30. Januar 2020 – 09:00 bis 17:00 Uhr

Klaus Linder-Saal, Hochschule für Musik Basel

Teilnahmegebühren: 80/40 CHF – für VChN-Mitglieder kostenlos!

Chorphonetik ist eine Stimm- und Gehörbildung, die es ermöglicht, Intonation und Homogenität im Chor mit der Klangfarbe der Vokale zu steuern.

Sänger/-innen können lernen, ihre Formanten so auf Teiltöne auszurichten, dass sie sowohl in den musikalischen Kontext passen als auch innerhalb einer Stimmgruppe übereinstimmen. Formanten erzeugen einen (unbewusst wahrgenommenen) Tonhöheneindruck, der die Intonation und Homogenität beeinflusst. Gesangspädagogische Methoden des Obertongesangs bilden die Grundlage für die Schulung der Wahrnehmung dieser Tonhöheninformation und für die Kontrolle der Formanten durch die Form des Vokaltrakts.

Nähere Informationen und Anmeldung hier: PDF-Datei

09:00 bis 12:00
– Einführung einer neuen Hörweise: Töne statt Vokale – Übung
– Einführungsvortrag „Wie Vokale die Chorintonation steuern“, mit Klanganalyse, ca. 30 Min – Übungen zur Kontrolle der 2. Vokalresonanz (2. Formant)
– Übungen zur Bedeutung von Resonanzen
– Anwendungsübungen für 2. Resonanz im Chor, reine Intervalle
Mittagspause (Mittagessen in der Cafeteria für 23 Franken, siehe Anmeldung)
13:30 bis 16:30
– Übungen zur Kontrolle der 3. Vokaltraktresonanz (Obertongesang)
– Übungen zur Resonanzempathie und Resonanzsynchronisierung
– Übung: Warum manchmal unterschiedliche Vokalfärbungen homogener klingen – Anwendungsübungen Resonanzempathie in der Improvisation
– Analyse von Resonanzen in Chorsätzen, Resonanzmatrix
– Anwendung auf Messiaen „O sacrum convivium“
16:30 bis 17:00
Offene Frage- und Feedbackrunde mit Saus

Chorphonetik ist eine zukunftsweisende neue Methode, die Intonation und Homogenität im Chor zu veredeln. Wochenend- oder Tagescoaching auf Anfrage.


Ruf mich an, wenn Du mehr über ein Coaching für Deinen Chor oder eine Fortbildung zu Chorphonetik wissen möchtest:
Tel. +49 163 6237866 (mobil, auch SMS)

Chorphonetik ist eine zukunftsweisende neue Methode, die Intonation und Homogenität im Chor zu veredeln. Wochenend- oder Tagescoaching auf Anfrage.


Ruf mich an, wenn Du mehr über ein Coaching für Deinen Chor oder eine Fortbildung zu Chorphonetik wissen möchtest:
Tel. +49 163 6237866 (mobil, auch SMS)

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