Tag Archive for: polyphony

Foto des Sammelbandes Weichnachtslieder von Jan Heinke

In memoriam Jan Heinke 2 – Christmas Song Collection

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Dear fellow aficionados of Jan Heinke’s overtone music,

I would like to tell you again today about this moving story that touched me deeply. In April 2022, my friend and musician Jan Heinke passed away. But just a few hours before his death, he wrote me an email with a special attachment.

In this email, Jan told me that he felt he would no longer be able to complete his work and asked me to take care of it. I knew what to do. Attached was a huge collection of folk songs from all over the world that Jan had set for overtone singing – several hundred songs! Jan had already started working on this in 2013 and had received a work grant from the Kulturstiftung Sachsen.

Together with Jan’s partner Claudia, we have now completed the second volume of the series with 35 Christmas carol movements for polyphonic overtone singing. On the occasion of the 3rd Advent 2023, this volume will be published here and on Jan’s website as a free e-book with a free Creative Commons license.

Jan’s nine years of dedicated work on these arrangements will now be posthumously shared with the public, fulfilling his cherished desire. According to a report on the project, the initial objective was to explore the potential of overtone singing as a vocal technique for both performers and composers in Western culture, an area that had not yet been extensively investigated. These song arrangements were intended to encourage the practical application of overtone singing in music.

I am both grateful and honored to continue Jan’s legacy and share his remarkable work with the world. His music will live on and inspire others – exactly as he wished.

Warm regards, Wolfgang

Jan Heinke – Memories of Jan

Download: Christmas Songs set for Overtone Singing by Jan Heinke – ebook

Photo of the anthology Christmas Songs by Jan Heinke

Foto des Notenbandes Deutsche Volkslieder im Satz für Obertongesang von Jan Heinke

In memoriam Jan Heinke – German Folk Song Collection

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Hello fellow aficionados of Jan Heinke’s overtone music,

I am eager to share with you an emotionally charged story that has profoundly touched me. In April of last year, my dear friend and talented musician, Jan Heinke, sadly passed away. However, just hours before his untimely departure, he sent me an email containing a very special attachment.

In the email, Jan confided that he felt he wouldn’t be able to complete his work and requested that I see it through. I instantly knew what I had to do. Attached was a vast compilation of folk songs from around the globe, meticulously arranged for overtone singing by Jan – several hundred songs in total! He had initially begun working on this project in 2013 and had received a grant from the Kulturstiftung Sachsen to support his efforts.

In collaboration with Jan’s life partner, Claudia, we managed to finalize the first volume of the series, featuring 126 German folk songs adapted for polyphonic overtone singing. To commemorate the anniversary of his passing on April 20th, 2023, this volume will be made available on Jan’s website as a free e-book, complete with a complimentary Creative Commons license.

Jan’s nine years of dedicated work on these arrangements will now be posthumously shared with the public, fulfilling his cherished desire. According to a report on the project, the initial objective was to explore the potential of overtone singing as a vocal technique for both performers and composers in Western culture, an area that had not yet been extensively investigated. These song arrangements were intended to encourage the practical application of overtone singing in music.

I am both grateful and honored to continue Jan’s legacy and share his remarkable work with the world. His music will live on and inspire others – exactly as he wished.

Warm regards, Wolfgang

Jan Heinke – Memories of Jan
Download: Deutsche Volkslieder arranged for Overtone Singing PDF

Foto des Notenbandes Deutsche Volkslieder im Satz für Obertongesang von Jan Heinke

“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/

Brahms’ Lullaby – with Stuart Hinds

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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.

Dvořák with Overtones

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Stuart Hinds is undoubtedly the master of polyphonic overtone singing. He sets standards for this young vocal technique with his compositions. With Goin’ home, a melody from the second movement of the Ninth Symphony of by Czech composer Anonín Dvořák, Hinds here presents one of his easier pieces, that nevertheless will be a challenge for most overtone singers.

In addition to the version for solo baritone overtone singer and keyboad Hinds wrote a choral version, dedicated to the Prague ensemble Sprektrum, that sings the overtone part with even serveral choral singers. With such compositions hopefully many singers are encouraged to explore the fascinating possibilities of the polyphonic overtone singing.

In memory of a dear friend

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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.

Jan was an enthusiastic and very good polyphonic overtone singer. He was a member of the European Overtonechoir and the Overtone Choir Spektrum, where we first met back in 2003.

Oh, come, little children

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“Ihr Kinderlein, kommet” im Satz für polyphonen Obertongesang in einer Neufassung mit Keyboard-Begleitung von Michael Reimann.
Als ich 1984 meine polyphonen Obertongesangsstil entwickelte war”Ihr Kinderlein, kommet” eines der ersten Lieder, die ich mit wechselnden Grundtönen sang.

Ich singe hier eine einfach zu lernende Fassung mit nur drei Grundtönen, die Du am schnellsten durch Mitsingen lernst. Die Noten dazu kannst Du Dir hier kostenlos herunterladen:

Noten Download

Text:

1. Ihr Kinderlein, kommet, o kommet doch all’!
Zur Krippe her kommet in Betlehems Stall
und seht, was in dieser hochheiligen Nacht
der Vater im Himmel für Freude uns macht.

2. O seht in der Krippe, im nächtlichen Stall,
seht hier bei des Lichtleins hellglänzendem Strahl,
den lieblichen Knaben, das himmlische Kind,
viel schöner und holder, als Engelein sind.

3. Da liegt es – das Kindlein – auf Heu und auf Stroh;
Maria und Josef betrachten es froh;
die redlichen Hirten knie’n betend davor,
hoch oben schwebt jubelnd der Engelein Chor.

4. Manch Hirtenkind trägt wohl mit freudigem Sinn
Milch, Butter und Honig nach Betlehem hin;
ein Körblein voll Früchte, das purpurrot glänzt,
ein schneeweißes Lämmchen mit Blumen bekränzt.

5. O betet: Du liebes, Du göttliches Kind
was leidest Du alles für unsere Sünd’!
Ach hier in der Krippe schon Armut und Not,
am Kreuze dort gar noch den bitteren Tod.

6. O beugt wie die Hirten anbetend die Knie,
erhebet die Hände und danket wie sie!
Stimmt freudig, ihr Kinder, wer wollt sich nicht freu’n,
stimmt freudig zum Jubel der Engel mit ein!

7. Was geben wir Kinder, was schenken wir Dir,
du Bestes und Liebstes der Kinder, dafür?
Nichts willst Du von Schätzen und Freuden der Welt –
ein Herz nur voll Unschuld allein Dir gefällt.

8. So nimm unsre Herzen zum Opfer denn hin;
wir geben sie gerne mit fröhlichem Sinn –
und mache sie heilig und selig wie Dein’s,
und mach sie auf ewig mit Deinem nur Eins.

Melodie:  Johann Abraham Peter Schulz 1794. Text: Christoph von Schmid 1798. Video: Falling snow by Matt S – CC BY 3.0, Artikelbild: pixabay CC0.

Pachelbel’s Canon

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Here is my overtone variation about the canon of Johann Pachelbel, in which I sing bass and soprano at the same time. It is an exercise for polyphonic overtone singing, which I once wrote for my students in the mid 1990s.

I have developed a series of preparatory exercises for my Masterclass students to build up the polyphonic singing skills step by step. It takes a whole weekend and a few weeks of practice. But if you want to try it out with the canon right away: Download the sheet music for free here.

It is a multitasking exercise that requires concentration. I sing two melodies contrapuntally. I lead the bass melody (ostinato) with my left hand and sing it first without overtone technique. Then I start the melody in the overtones and follow it with my right hand.

The left hand is linked to the right brain, where the perception of overtones is located. But it follows the basic melody, which is processed in the left brain. The right hand is controlled by the left hemisphere, but follows the overtones that are processed on the right side (see “How overtones work in the brain” and “Test: Are you an overtone or a fundamental listener?“).

In my experience, this crossover of hand control and auditory perception has an accelerating effect on learning and intonation gets better. If you occasionally swap hands, i. e. overtones on the left and fundamental tones on the right, this intensifies the training effect. But generally I recommend to practice the first version.

At the beginning you always have the problem that either the overtones don’t sound good or the keynote is completely out of tune. This is probably due to the fact that the brain can initially concentrate either on the clarity of the overtones or on the intonation of the fundamental tones. This multitasking is very similar to playing the piano, where the left hand plays the bass and the right hand the high part.

Try out which hand follows the overtones more easily and leave it in the comments. And whether you’re right or left-handed. I’d like to know if left-handed people are different.

Tag Archive for: polyphony

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Tag Archive for: polyphony