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Note: The video does not work in some countries.

Achim Winter is going on another adventure and attends an overtone singing class with Wolfgang Saus. A cheerful German television team, Achim and his cameraman Hans-Jürgen Schmitz, meet on a Sunday morning in the former synagogue in Freudental for an equally cheerful weekend course group and film, participate and interview participants. As you can see, we had a lot of fun. The participants: Bettina Güßmann, Michael Volz, Diana Leo, Dorothea Niedecken, Ottschke Hemmerlein, Nicola Kaupert, Peter Schneider, Roland Wagner, Edwin Lengl, Achim Winter.

Impressions from the shooting

Links

⇒ZDF Website

Overtone vocals & classical guitar – Daniel Pircher
Didjeribone – Marc Miethe
Written by – Daniel Pircher
Camera – Vincent Dzikowski & René Gamsa
Video Editing – Daniel Pircher
Recording & Engineering – Marco Birkner at Studio H2 Berlin

I like Daniel Pircher’s wonderfully clear and light overtones.

 

Ivana Rea’s beautiful alto, cello, overtone singing by Michal Pustay. Ivana Rea is a well-known singer from the Czech Republic. Ivana will be touring with her new album in 2019/2020. Go when there is a concert near you. By the way, Ivana also sang in the European Overtone Choir.

 

Premiere: 1990 Wellington (New Zealand)
Commitioned by Victoria University of Wellington
RD:NEW ALBION/NA-099

Sōmei Satō creates a multi-track overtone choir with his own voice and uses vowel overtone singing as an effect. I have heard something similar from Roberto Laneri’s “Two views of the Amazon” from 1981. At the beginning of the 1980s, this probably sounded more like electronic music to most listeners, as overtone singing was still virtually unknown in the West.

Premiere 1982. Tokyo.
Commitioned by Japan Foundation
RD:ALM/AL-26, NEW ALBION/NA-099, NA-016

One of the very early compositions for western overtone singing. At that time overtone singing was hardly known.

23′
World premiere Tokyo 1986.
RD:NEW ALBION/NA-016, NA-099

Doris Kirschhofer is a lecturer at the University of Sport Salzburg, produces acrobatics shows on a large scale and is a singer whose fine-ironic electro-alpine ethno-pop gets a very individual touch through her overtone and undertone singing.

http://www.kirschhofer.com/

Stuart Hinds, the master of polyphonic overtone singing, has recorded a beautiful interpretation of Johannes Brahms’ Lullaby and Goodnight. You can download a simpler version of it here in sheet music and practice it yourself.

A documentary film about the diversity of human voice expression by Lena Giovanazzi and Daniel Büche: yodelling, overtone singing, buccal voice, laughter yoga, the sound repertoire of contemporary classical music, oesophagus voice, beatbox and animal sounds.

Cast

Christian Zehnder
Arjopa
Wolfgang Saus
Angela Mecking
Peter Krause
Michael Edward Edgerton
Angela Wingerath
Laryngeal Loss Choir León
Uwe Westphal
4xSample
PerformanceChoir for Experimental Singing Berlin

Crew

Lena Giovanazzi
Daniel Büche

Festivals and Awards

  • Open Eyes Filmfest Marburg 2012, 1st place Audience Award
  • 36th Weiterstadt Film Festival, 2012
  • Festival Internacional de Cine de Puebla, Mexico, 2012
  • Kinofest Lünen, 23rd festival for German films
  • Soundtrack Cologne, Festival See the Sound, November 2012
  • Blue November MicroFilmFest, Seattle, November 2012, “Best Illumination” and “Best Vision”
  • Flensburger Kurzfilmtage, November 2012, Main Award Documentary Film
  • Filofest 2012, International Student Film and Video Festival Ljubljana, Slovenia
  • Bamberger Kurzfilmtage, February 2013
  • Contrast, the Bayreuth Film Festival, February 2013
  • Landshut Short Film Festival, March 2013
  • Emmental Short Film Festival, 18-20 October 2013

“Ode to Joy”, overtone singing by Wolfgang Saus inside an MRI.

This spectacular dynamic MRI video shows how the tongue moves during overtone singing. The melody of Beethoven’s “Ode to Joy” is created by double resonances which are shaped by the tongue in the mouth and throat. Overtone singing is based on the combination of the second and third resonance frequencies of the vocal tract on a single frequency to increase the volume of a single overtone from the vocal sound.

The second resonance frequency is controlled by the base of the tongue along with the epiglottis. The third resonance frequency is regulated by the space under the tongue, which is larger than it appears in the video, because it also spreads to the side of the tongue frenulum, which covers the space in the image. Overtone singing requires constant fine tuning of the two resonance chambers.

It is not easy to sing in the very loud magnetic resonance tomograph and even record the sound. The noise level is so high that I had to wear hearing protection and couldn’t hear my own overtones. I had to sing by feeling. That the right melody came out is spectacular in itself. It shows that it is possible to develop a body feeling for the exact pitch of the resonances that also works without acoustic control through the ear.

The team in Freiburg has developed highly specialized equipment for recording and filtering. Of course the sound is not HiFi.

MRT footage with kind permission and a big thank you to:
University Hospital Freiburg
Clinic for Radiology – Medical Physics & Institute for Music Medicine
https://fim.mh-freiburg.de/
Prof. Dr. Bernhard Richter
Prof. Dr. Dr. Jürgen Hennig
Prof. Dr. Matthias Echternach
(c) 2015

Events

2. Stimmtag für Frauenstimmen, Männerstimmen und die ältere Stimme

Schwäbischer Chorverband

Weitere Informationen folgen.

Kurzlink auf diese Seite: https://www.oberton.org/?p=19140

49. Chorleiter-Fortbildungsseminar

am 29. Februar 2020 im Wilhelm-Kempf-Haus, 65207 Wiesbaden/Naurod

Hier anmelden

Veranstaltungs-Website

Workshop 3: Die Wahl der richtigen Vokale veredelt die Homogenität und Intonation im Chor- und Ensemblegesang. Dafür sind unbewusst wahrgenommene Vokalresonanzen verantwortlich. Eine aus dem Obertongesang entlehnte Hör- und Zungenfertigkeit macht diese Informationen nutzbar. Die Chorsänger lernen, wie sie diese Vokalfeinheiten finden, sie im Vokaltrakt hervorbringen und wie sie im Chor umgesetzt werden können. Anhand konkreter Ausschnitte aus Chorwerken werden die erstaunlichen Ergebnisse von Teilnehmern demonstriert.

Wolfgang Saus ist freiberuflicher Musiker, Gesangspädagoge und Stimmforscher. Als Experte für Obertongesang mit den Wurzeln in klassischem Gesang und mit Diplom in Chemie hat er eine besondere Art, die Faszination des Stimmklangs zu vermitteln. Der Klühstiftung-Preisträger sang als Solist im Theater sowie einigen Profichören und stieg nach 10 Jahren Industrieforschung aus der Chemie aus, um sich völlig den Obertönen der Stimme und ihrer Erforschung zu widmen. Er ist Mitentwickler von Klanganalyse-Software, Fachautor, Gründer des Europa-Obertonchores und seit 2015 Vorsitzender der Deutschen Gesellschaft für Gesangswissenschaft.


Samstag:

09:30 Uhr – Anmeldung
10.00 Uhr – Begrüßung
10.15 Uhr – Workshop 1: TYPisch Chor, Regine Müller-Laupert
12.30 Uhr – Mittagessen
13.45 Uhr – Workshop 2: Literaturvorstellung, BMA-Mitglieder
15.45 Uhr – Kaffeepause
16.15 Uhr – Workshop 3: Obertongesang, Wolfgang Saus
18.30 Uhr – Abendessen
19.30 Uhr – Workshop 4: Chor to go, Tristan Meister
Ende ca. 21:00 Uhr

Sonntag:

09.30 Uhr – Workshop 5: Sing it right!, Franny Fuchs
Ende ca. 12:30 Uhr

Die Chorleiterfortbildung des Hessischen Sängerbundes wird unterstützt vom Fachverband der Chorleiter e. V. (FDC) und der Hessischen Chorjugend e. V.