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.
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.
Michael Edward Edgerton
Laryngeal Loss Choir León
PerformanceChoir for Experimental Singing Berlin
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
Prof. Dr. Bernhard Richter
Prof. Dr. Dr. Jürgen Hennig
Prof. Dr. Matthias Echternach
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.
The duo The Lady & The Cat with the overtone virtuoso Anna-Maria Hefele and the jazz guitar player Jan Henning bring here an interesting arrangement of the classic Over the Rainbow (The Wizard of Oz) by Harold Arlen (text E. Y. Harburg). Stuart Hinds’ polyphonic overtone arrangement from 2005 served as the basis for Hefele’s adapted version for female voice. I follow with excitement the development of my former student.
Stuart Hinds wrote this solo piece for our common dear friend, Honza (Jan) Šima, who unexpectedly passed away at a young age in the last year. Although the piece is very emotional, it is not intended as an expression of mourning. It will rather give room for memories and contemplation.
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):
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
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.
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Fri., 24.05.2019 | 13:00 — 14:00
Obertongesang intensiv – für Anfänger und leicht Fortgeschrittene – mit Wolfgang Saus in Filderstadt – 29./30.06.2019Sat., 29.06.2019 | 11:30 — Sun., 30.06.2019 | 16:30
Fri., 23.08.2019 | 18:00 — Sun., 25.08.2019 | 12:30