{"id":14964,"date":"2013-05-13T17:56:57","date_gmt":"2013-05-13T15:56:57","guid":{"rendered":"https:\/\/www.oberton.org\/overtone-singing\/composing-with-overtone-singing-composers-guide\/"},"modified":"2021-05-06T22:37:02","modified_gmt":"2021-05-06T20:37:02","slug":"composing-with-overtone-singing-composers-guide","status":"publish","type":"page","link":"https:\/\/www.oberton.org\/en\/overtone-singing\/composing-with-overtone-singing-composers-guide\/","title":{"rendered":"Composing for Overtone Singing &#8211; Composer&#8217;s Guide"},"content":{"rendered":"<div  class='flex_column av-djbffh-1424330f22a21bb46be18e28296f6070 av_one_full  avia-builder-el-0  el_before_av_one_half  avia-builder-el-first  first flex_column_div  '     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-jgnomses-5b81088f8da388a0a485b7d3be194c0a\">\n#top .av-special-heading.av-jgnomses-5b81088f8da388a0a485b7d3be194c0a{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-jgnomses-5b81088f8da388a0a485b7d3be194c0a .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-jgnomses-5b81088f8da388a0a485b7d3be194c0a .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-jgnomses-5b81088f8da388a0a485b7d3be194c0a av-special-heading-h1 blockquote modern-quote  avia-builder-el-1  avia-builder-el-no-sibling '><h1 class='av-special-heading-tag '  itemprop=\"headline\"  >Composing with Harmonics<\/h1><div class='av-subheading av-subheading_below'><p>Tools for Composers<\/p>\n<\/div><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-d5gr9p-df9019e0ea7d0af1d0458211340aed98 av_one_half  avia-builder-el-2  el_after_av_one_full  el_before_av_one_half  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-cysamt-8384c982eef73db7adb01c5423c0813c '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>Composers will find here information about the &#8220;instrument&#8221; overtone singing and templates that simplify composing.<\/p>\n<p>If questions remain unanswered, I will be happy to support. I am delighted with every commitment to this new instrument. Feel free to <a href=\"https:\/\/www.oberton.org\/en\/wolfgang-saus\/contact\/\">contact<\/a> me.<\/p>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-cuz4d1-859ee274e1892ba1c99c308a04c59a14\">\n.flex_column.av-cuz4d1-859ee274e1892ba1c99c308a04c59a14{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-cuz4d1-859ee274e1892ba1c99c308a04c59a14 av_one_half  avia-builder-el-4  el_after_av_one_half  el_before_av_one_full  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-cligh1-a3e5a579e7a4a4cdc87480e33ec82974 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" >\n<\/div><\/section><\/div>\n<div  class='flex_column av-ck55s5-c89e1d2eaa6ac30ef11023c6c3e8ebdf av_one_full  avia-builder-el-6  el_after_av_one_half  el_before_av_one_half  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-cdtnyt-4ecfaf36e0242ca56cd01275ed337f01 av-special-heading-h2 blockquote modern-quote  avia-builder-el-7  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Melody or Timbre?<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-c5b8bx-32931143bafade8d12044a16ae6cc6b5 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>For western overtone singing there are two fundamentally different compositional approaches: Melody overtones or timbre overtones.<\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-bzbjo5-ec18764731a08833095385ce7191b49c av_one_half  avia-builder-el-9  el_after_av_one_full  el_before_av_one_half  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-16nywt-655e26abea197eb7831074609fce1579 av-special-heading-h3 meta-heading  avia-builder-el-10  el_before_av_textblock  avia-builder-el-first '><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >Melody<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-bncl0d-204bded3eed46fded7cb0e2c0d7726fb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><audio class=\"wp-audio-shortcode\" id=\"audio-14964-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Jerusalem-Dream-Satz2-Teil-239_96kbps.mp3?_=1\" \/><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Jerusalem-Dream-Satz2-Teil-239_96kbps.mp3\">https:\/\/www.oberton.org\/wp-content\/uploads\/Jerusalem-Dream-Satz2-Teil-239_96kbps.mp3<\/a><\/audio>\n<p><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Jerusalem-Dream-Satz2-Teil-239_96kbps.mp3\">Nori Jacoby &#8211; Jerusalem Dream &#8211; Scene II Perfumed with Myrrh (part)<\/a><\/p>\n<p>Melodies are sung with overtone singing technique. They sound like a spherical mixture of glass harp and flute. The sound material is the natural <a href=\"https:\/\/www.oberton.org\/en\/overtone-singing\/harmonic-series\/\">harmonic series<\/a>. Natural melodies have a calming and meditative effect.<\/p>\n<p>Melody overtones are to be considered as a second instrument in composition. Both overtone and fundamental melodies simultaneously enable real polyphony &#8211; a singer can sing in a canon with himself. Flowing transitions into vowel overtones and normal singing are possible.<\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-bi20o5-42c5f1b4da5464ea187ba7dba5002813 av_one_half  avia-builder-el-12  el_after_av_one_half  el_before_av_one_full  flex_column_div av-zero-column-padding  column-top-margin'     ><p><div  class='av-special-heading av-baw69h-c22d35b5f9676364c879f3b4426ab21b av-special-heading-h3 meta-heading  avia-builder-el-13  el_before_av_textblock  avia-builder-el-first '><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >Timbre<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-b5kh11-d2911a809b2ed045482466b3dea278fb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><audio class=\"wp-audio-shortcode\" id=\"audio-14964-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/obertonklangfarbenchor_001.mp3?_=2\" \/><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/obertonklangfarbenchor_001.mp3\">https:\/\/www.oberton.org\/wp-content\/uploads\/obertonklangfarbenchor_001.mp3<\/a><\/audio>\n<p><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/obertonklangfarbenchor_001.mp3\">Harmonic Timbre Choir<\/a><\/p>\n<p>Timbres are sung with <strong>vowel harmonics<\/strong>. It is little known that timbre can be composed down to the last detail. Vowel harmonics are the link between speech and overtone singing (see choral phonetics). Synchronous timbre shifts are a new stylistic element for choral music.<\/p>\n<p>Interesting sound scape effects result when a choir sings several overtone melodies in a jumble. The effect is often perceived as a lively synthesizer sound (cf. <a href=\"https:\/\/www.oberton.org\/en\/aachener-obertonchor-bbc-doku-ueber-600-000-views\/\">Glenn Keiles&#8217; film music to &#8220;The Life of Buddha&#8221;<\/a>, or <a title=\"Bernat Vivancos\" href=\"https:\/\/www.oberton.org\/en\/portfolio-item\/bernat-vivancos\/\">Bernat Vivancos&#8217; &#8220;Obriu-me els llavis, Senyor&#8221;<\/a>). Smooth transitions from speech to overtone singing are also possible.<\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-7kgtfx-b7e875f5387e7a88281d9300b6c89cf3 av_one_full  avia-builder-el-15  el_after_av_one_half  el_before_av_one_full  first flex_column_div av-zero-column-padding  column-top-margin'     ><p><div  class='av-special-heading av-13mgs5-65714c83ab5c516c9c7e9d15cf2bcbb2 av-special-heading-h2 blockquote modern-quote  avia-builder-el-16  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Tessitura<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-ahzhr9-7d5fb3e2384d7602c897d52ad6e2b1b9 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><img decoding=\"async\" class=\"alignright size-full wp-image-7027\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Obertonambitus-Noten.png\" alt=\"Ambitus der singbaren Obert\u00f6ne, verschiedene Techniken.\" width=\"255\" height=\"83\" \/>The range of overtone singing varies depending on the singing technique. The NG technique is suitable for lower harmonics, the L, R and J techniques for higher harmonics. There are two limits to overtone singing: The absolute limit of possible frequencies, and the relative limit of position in the harmonic series.<\/p>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-aa8kv1-94446e347e25a8569c6979bafc6af91e '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>Frequency limits<\/strong>: Physiologically, harmonics can only be sung from approx. A4 to D7 (440 to 2500 Hz). NG technique: approx. A4 to B5. L\/R\/J technique: approx. E5 to D7. The limits are set by the resonance frequencies, i.e. by the shape limitations of the vocal tract.<\/p>\n<p><strong>Limits of the harmonic series<\/strong>: At the same time, only the harmonics 3 to 16 can be used for melodies. For most singers, clear overtone melodies are only possible up to the 12th, a few up to the 16th harmonic. In Tuva and Mongolia, they don&#8217;t sing beyond the 13th harmonic. Depending on the desired timbre, harmonics of up to 20 can be sung, which then have a strong fundamental part in the sound. The upper limit is caused by the narrow distances between partials above 12. The 2nd and 1st harmonics are not heard as separate overtones.<\/p>\n<p>The combination of both results in an individual overtone range for each keynote.<\/p>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-8kwgkt-dfb53c5f41b1b211f2860d775ff05e15 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><img decoding=\"async\" class=\"alignright size-full wp-image-7032\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/grundtonambitus1.png\" alt=\"Ambitus der Grundt\u00f6ne\" width=\"129\" height=\"65\" \/><\/p>\n<p>For my part, I set <strong>G2 as the lower limit of the fundamental<\/strong>. On G2, clearly isolated overtones can be sung. <strong>The upper limit is C5<\/strong>, on which the soprano still can sing the harmonics 3, 4 and 5. With G5 the tone is reached on which only and just the 3rd harmonic (D7) could be sung.<\/p>\n<p>Theoretically, 7 overtones could be sung on C2, provided the singer applies enough vocal chord pressure in this low register to produce enough loud overtones. C2 is an extreme position that does not occur in any composition known to me.<\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-8oqzgl-1f5073441e4a047dd4c0cf7cd83d5d8e av_one_full  avia-builder-el-20  el_after_av_one_full  el_before_av_one_full  first flex_column_div av-zero-column-padding  column-top-margin'     ><p><div  class='av-special-heading av-y26wl-9cf325ca0fa770d7b12caeace438aa82 av-special-heading-h2 meta-heading blockquote modern-quote  avia-builder-el-21  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Tessitura of Vocal Registers<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-7elqod-4d0aed039397dae08858012fdfbaec36 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>The comfort zone, which many Western overtone singers find pleasantly singable, is marked in green. This area is suitable, for example, for choir compositions that are also mastered by experienced amateur choirs. Professional singers can occasionally sing beyond the specified range. Since there are only a few professional overtone singers, more complex solo works will be adapted individually.<\/p>\n<p>The ambitus of the harmonics is almost the same for all registers. Female voices are about 2 to 3 semitones higher than men due to their slightly shorter vocal tract. However, the fundamental ranges are very different and much smaller than the normal singing range.<\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-7sw0kd-4b9fae211317ebb77e2671eab9755572\">\n.avia-image-container.av-7sw0kd-4b9fae211317ebb77e2671eab9755572 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-7sw0kd-4b9fae211317ebb77e2671eab9755572 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-7sw0kd-4b9fae211317ebb77e2671eab9755572 av-styling- avia-align-center  avia-builder-el-23  el_after_av_textblock  avia-builder-el-last '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-14889 avia-img-lazy-loading-not-14889 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/tessitura-overtone-singing-saus-trsp.png\" alt='Tessitura of Overtone Singing' title='Tessitura of Overtone Singing'  height=\"233\" width=\"950\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/tessitura-overtone-singing-saus-trsp.png 950w, https:\/\/www.oberton.org\/wp-content\/uploads\/tessitura-overtone-singing-saus-trsp-300x74.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/tessitura-overtone-singing-saus-trsp-768x188.png 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/tessitura-overtone-singing-saus-trsp-600x147.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/tessitura-overtone-singing-saus-trsp-705x173.png 705w, https:\/\/www.oberton.org\/wp-content\/uploads\/tessitura-overtone-singing-saus-trsp-450x110.png 450w\" sizes=\"(max-width: 950px) 100vw, 950px\" \/><\/div><\/div><\/div><\/p><\/div>\n<div  class='flex_column av-ud0x9-f0d6b12cbe87c1fae69535511faebb9a av_one_full  avia-builder-el-24  el_after_av_one_full  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-tdykt-eed85f637b1cca98944e1db678ecf667 av-special-heading-h2 meta-heading blockquote modern-quote  avia-builder-el-25  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Rule of Thumb for Whistling Overtones<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-9mamrp-81ffef22d6dcc48c15e84ccb215fdf17 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><ol>\n<li>The <strong>lowest<\/strong> singable overtone is either E5 or the 3rd partial, whichever is higher.<\/li>\n<li>The <strong>highest<\/strong> singable overtone is either D7 or the 16th partial, whichever is lower.<\/li>\n<\/ol>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-ud0x9-f0d6b12cbe87c1fae69535511faebb9a av_one_full  avia-builder-el-27  el_after_av_one_full  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-nr6f9-1357be3ec6fbf269f5e771c7cfae09fd av-special-heading-h2 blockquote modern-quote  avia-builder-el-28  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Singable Harmonics in Notes<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-7elqod-4d0aed039397dae08858012fdfbaec36 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>An overview of all singable harmonics in sheet music. From G2 in bass to C5 in soprano, all harmonics suitable for melody formation are notated for L, R and J techniques. The comfort zone is green again.<\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-7sw0kd-e7fd9c06209df54773911bbfb438ca5e\">\n.avia-image-container.av-7sw0kd-e7fd9c06209df54773911bbfb438ca5e img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-7sw0kd-e7fd9c06209df54773911bbfb438ca5e .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-7sw0kd-e7fd9c06209df54773911bbfb438ca5e av-styling- avia-align-center  avia-builder-el-30  el_after_av_textblock  el_before_av_button '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" class='wp-image-14885 avia-img-lazy-loading-not-14885 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/alle-singbare-obertoene-saus-trsp.png\" alt='All Singable Harmonics' title='All Singable Harmonics'  height=\"1344\" width=\"950\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/alle-singbare-obertoene-saus-trsp.png 950w, https:\/\/www.oberton.org\/wp-content\/uploads\/alle-singbare-obertoene-saus-trsp-212x300.png 212w, https:\/\/www.oberton.org\/wp-content\/uploads\/alle-singbare-obertoene-saus-trsp-768x1087.png 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/alle-singbare-obertoene-saus-trsp-728x1030.png 728w, https:\/\/www.oberton.org\/wp-content\/uploads\/alle-singbare-obertoene-saus-trsp-600x849.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/alle-singbare-obertoene-saus-trsp-498x705.png 498w, https:\/\/www.oberton.org\/wp-content\/uploads\/alle-singbare-obertoene-saus-trsp-450x637.png 450w\" sizes=\"(max-width: 950px) 100vw, 950px\" \/><\/div><\/div><\/div><br \/>\n<div  class='avia-button-wrap av-7msmf1-28bcdd67051d8b2f90ca192fb3b833a1-wrap avia-button-center  avia-builder-el-31  el_after_av_image  avia-builder-el-last '><a href='https:\/\/www.oberton.org\/wp-content\/uploads\/All-Singable-Overtones-whistle-styles-v6-2xDIN-A4-1.pdf'  class='avia-button av-7msmf1-28bcdd67051d8b2f90ca192fb3b833a1 av-link-btn avia-icon_select-yes-left-icon avia-size-small avia-position-center avia-color-green'  target=\"_blank\"  rel=\"noopener noreferrer\"  aria-label=\"PDF Download\"><span class='avia_button_icon avia_button_icon_left avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue82d' data-av_iconfont='entypo-fontello' ><\/span><span class='avia_iconbox_title' >PDF Download<\/span><\/a><\/div><\/p><\/div>\n<div  class='flex_column av-75s16d-05ee881db6f5a999fdda4f1f2eb0bd27 av_one_full  avia-builder-el-32  el_after_av_one_full  el_before_av_one_half  first flex_column_div  column-top-margin'     ><div  class='av-special-heading av-6z353x-88e12eef7568e4b0d3f2fdf38b2be608 av-special-heading-h2 blockquote modern-quote  avia-builder-el-33  avia-builder-el-no-sibling '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Diagram of Overtones<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-6x6pdh-2a4a2b5ca75b73c68a51036c080a97eb av_one_half  avia-builder-el-34  el_after_av_one_full  el_before_av_one_half  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-6ncyt1-ed2b236291a81069302c2035a1ca6706 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>This scheme summarizes all essential information about the connection between pitch and overtone singing. In addition to the singing tones (lower keyboard) from B1 to F6, the harmonic series can be read vertically upwards. The pitches that can be achieved with overtone singing are underlaid in grey (NG technique) or orange (L, R, J technique). Overtones that are in an overtone area and simultaneously between the 3rd and 16th harmonic can be easily sung.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-6jntlh-bdffac9d5231a458e488242946d8b565 av_one_half  avia-builder-el-36  el_after_av_one_half  el_before_av_one_full  flex_column_div av-zero-column-padding  column-top-margin'     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-6bn2j9-08000da4e44ffec293d932bdba43b676\">\n.avia-image-container.av-6bn2j9-08000da4e44ffec293d932bdba43b676 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-6bn2j9-08000da4e44ffec293d932bdba43b676 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-6bn2j9-08000da4e44ffec293d932bdba43b676 av-styling- avia-align-right  avia-builder-el-37  el_before_av_button  avia-builder-el-first '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" width=\"311\" height=\"440\" class='wp-image-7030 avia-img-lazy-loading-not-7030 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/tonumfang-von-obertongesang_300x440.jpg\" alt='Range of overtone singing' title='Range of overtone singing'   itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/tonumfang-von-obertongesang_300x440.jpg 311w, https:\/\/www.oberton.org\/wp-content\/uploads\/tonumfang-von-obertongesang_300x440-212x300.jpg 212w\" sizes=\"(max-width: 311px) 100vw, 311px\" \/><\/div><\/div><\/div><br \/>\n<div  class='avia-button-wrap av-68kd71-e27f4be4a3fe4b9e65f57dd0be4cf4f4-wrap avia-button-center  avia-builder-el-38  el_after_av_image  avia-builder-el-last '><a href='https:\/\/www.oberton.org\/wp-content\/uploads\/Tonumfang-von-Obertongesang-v06.pdf'  class='avia-button av-68kd71-e27f4be4a3fe4b9e65f57dd0be4cf4f4 av-link-btn avia-icon_select-yes-left-icon avia-size-small avia-position-center av-icon-on-hover avia-color-green'   aria-label=\" Download PDF\"><span class='avia_button_icon avia_button_icon_left avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue82d' data-av_iconfont='entypo-fontello' ><\/span><span class='avia_iconbox_title' > Download PDF<\/span><\/a><\/div><\/p><\/div>\n<div  class='flex_column av-62d1ud-de7bbcaef5e645ad63472b797b2e3c53 av_one_full  avia-builder-el-39  el_after_av_one_half  el_before_av_one_half  first flex_column_div  column-top-margin'     ><div  class='av-special-heading av-5vtd9x-90c60a8b01c86616ae0219916900df09 av-special-heading-h2 blockquote modern-quote  avia-builder-el-40  avia-builder-el-no-sibling '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >The Overtone Slide<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-5qf3g5-0fbd98ebcd49e3ce42549b2663b5df56 av_one_half  avia-builder-el-41  el_after_av_one_full  el_before_av_one_half  first flex_column_div  column-top-margin'     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-5loul9-9b5335fc18e8c46f1f2e2455469d88b6\">\n.avia-image-container.av-5loul9-9b5335fc18e8c46f1f2e2455469d88b6 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-5loul9-9b5335fc18e8c46f1f2e2455469d88b6 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-5loul9-9b5335fc18e8c46f1f2e2455469d88b6 av-styling- avia-align-left  avia-builder-el-42  el_before_av_button  avia-builder-el-first '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" class='wp-image-7113 avia-img-lazy-loading-not-7113 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Obertonschieber-300x210.png\" alt='' title='Obertonschieber'  height=\"210\" width=\"300\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Obertonschieber-300x209.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/Obertonschieber-1030x719.png 1030w, https:\/\/www.oberton.org\/wp-content\/uploads\/Obertonschieber-768x536.png 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/Obertonschieber-600x419.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/Obertonschieber-705x492.png 705w, https:\/\/www.oberton.org\/wp-content\/uploads\/Obertonschieber-450x314.png 450w, https:\/\/www.oberton.org\/wp-content\/uploads\/Obertonschieber.png 1224w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><\/div><\/div><br \/>\n<div  class='avia-button-wrap av-ja5ct-17733ea5c6f4fad1ec935f8ada0e3852-wrap avia-button-center  avia-builder-el-43  el_after_av_image  avia-builder-el-last '><a href='https:\/\/www.oberton.org\/wp-content\/uploads\/Obertonschieber-v6.3.pdf'  class='avia-button av-ja5ct-17733ea5c6f4fad1ec935f8ada0e3852 av-link-btn avia-icon_select-yes-left-icon avia-size-small avia-position-center av-icon-on-hover avia-color-green'   aria-label=\" Download PDF\"><span class='avia_button_icon avia_button_icon_left avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue82d' data-av_iconfont='entypo-fontello' ><\/span><span class='avia_iconbox_title' > Download PDF<\/span><\/a><\/div><\/p><\/div>\n<div  class='flex_column av-59bm1h-358275142f336000db15f7d91b68cfd5 av_one_half  avia-builder-el-44  el_after_av_one_half  el_before_av_one_half  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-50vff9-9ad4c36dc7a805be9532bb61d47a40de '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>The overtone slider is the predecessor of the &#8220;Overtone Analyzer&#8221; software. It consists of the piano scheme and the harmonics slider. It contains all essential information about the range of overtone singing.<\/p>\n<p>The piano scheme shows the fundamental range of the vocal registers, the range of the resonance frequencies in the vocal tract and the range of the singable harmonics (the range of the double resonances in the overtone technique). If the harmonics slider is placed on top the piano, the singable overtones can be read off immediately.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-hmir1-811d95d5c549428ca890ec08ad8d0f38 av_one_half  avia-builder-el-46  el_after_av_one_half  el_before_av_one_half  first flex_column_div  column-top-margin'     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-4r72j1-fe1ae41d995c0f17a6356c76df553e53\">\n.avia-image-container.av-4r72j1-fe1ae41d995c0f17a6356c76df553e53 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-4r72j1-fe1ae41d995c0f17a6356c76df553e53 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-4r72j1-fe1ae41d995c0f17a6356c76df553e53 av-styling- avia-align-left  avia-builder-el-47  el_before_av_button  avia-builder-el-first '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" class='wp-image-7114 avia-img-lazy-loading-not-7114 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Teiltonskala-300x223.gif\" alt='' title='Teiltonskala'  height=\"223\" width=\"300\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Teiltonskala-300x223.gif 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/Teiltonskala-768x572.gif 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/Teiltonskala-600x446.gif 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/Teiltonskala-705x525.gif 705w, https:\/\/www.oberton.org\/wp-content\/uploads\/Teiltonskala-450x334.gif 450w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><\/div><\/div><br \/>\n<div  class='avia-button-wrap av-4i01v1-2cb546553631559bf0de42002ce7dfe1-wrap avia-button-center  avia-builder-el-48  el_after_av_image  avia-builder-el-last '><a href='https:\/\/www.oberton.org\/wp-content\/uploads\/Teiltonskala-v06.pdf'  class='avia-button av-4i01v1-2cb546553631559bf0de42002ce7dfe1 av-link-btn avia-icon_select-yes-left-icon avia-size-small avia-position-center av-icon-on-hover avia-color-green'   aria-label=\" Download PDF\"><span class='avia_button_icon avia_button_icon_left avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue82d' data-av_iconfont='entypo-fontello' ><\/span><span class='avia_iconbox_title' > Download PDF<\/span><\/a><\/div><\/p><\/div>\n<div  class='flex_column av-4epp25-d13402f9c043b3a6b894259ed27e0503 av_one_half  avia-builder-el-49  el_after_av_one_half  el_before_av_one_full  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-4arqpx-574daaf8a9a5d7f3d09b6f4ab2d01c3a '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>The harmonics slider represents the sound produced by the larynx, the chord of partial tones that make up the voice. This chord interacts with the resonances represented in the piano scheme. The harmonics slider is placed with its keynote on the singing note and the singable overtones can then be read.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-44hpdh-5c7d3b01990cf09b527e23f71a982aad av_one_full  avia-builder-el-51  el_after_av_one_half  el_before_av_one_half  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-fton9-1e6afbe994dc69dab8a340cfb9bbe59d av-special-heading-h2 blockquote modern-quote  avia-builder-el-52  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Finding Fundamentals for an Overtone<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-d9qgl-8bee8fbe40230606750668b1fa5815de '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><a href=\"https:\/\/www.oberton.org\/en\/portfolio-item\/software-overtone-analyzer-vocevista\/\" target=\"_blank\" rel=\"noopener\">Overtone Analyzer<\/a> makes it extremely easy to find all fundamental tones for any overtone: The undertone series of an overtone contains all the fundamental tones with which this overtone can be produced. All undertones in the range of the desired pitch can be used as the keynote for the targeted overtone.<\/p>\n<\/div><\/section><\/p><\/div><div  class='flex_column av-3mlxg5-d12337084322c026eb28ef5b29eb6e52 av_one_half  avia-builder-el-54  el_after_av_one_full  el_before_av_one_half  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-3guwil-3b94b6b46cf0173cda5711e89a3fecd7 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>Example 1<\/strong>: Assuming that C6 is to be sung as an overtone by a bass in a composition. Each subharmonic of C6 can be used as the fundamental if it is within the vocal range of the singer. The range of a bass is between approx. E2 and E4, within which the 4th to 12th subharmonics of the target harmonics C6 can be found, i.e. a bass can reach the desired C6 as overtone from the fundamental notes F2, F#2, G2#, G2#, A2#, C3, D3, F3, G#3 or C4.<\/p>\n<\/div><\/section><\/div><\/p>\n<div  class='flex_column av-365dnp-86a0ebbb6426a675ff7f01f7d7f4d792 av_one_half  avia-builder-el-56  el_after_av_one_half  el_before_av_one_half  flex_column_div av-zero-column-padding  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-31d7ct-acab3a209290b109e04a3bbec2e0c4b1\">\n.avia-image-container.av-31d7ct-acab3a209290b109e04a3bbec2e0c4b1 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-31d7ct-acab3a209290b109e04a3bbec2e0c4b1 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-31d7ct-acab3a209290b109e04a3bbec2e0c4b1 av-styling- av-img-linked avia-align-right  avia-builder-el-57  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass.png\" data-srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass.png 720w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-80x80.png 80w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-300x300.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-180x180.png 180w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-600x602.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-36x36.png 36w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-703x705.png 703w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-120x120.png 120w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-450x451.png 450w\" data-sizes=\"(max-width: 720px) 100vw, 720px\" class='avia_image '  aria-label='Find bass fundamental notes to sing C6 as an overtone.'><img decoding=\"async\" class='wp-image-7033 avia-img-lazy-loading-not-7033 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-300x300.png\" alt='Find bass fundamental notes to sing C6 as an overtone.' title='Find bass fundamental notes to sing C6 as an overtone.'  height=\"300\" width=\"300\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-300x300.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-80x80.png 80w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-180x180.png 180w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-600x602.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-36x36.png 36w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-703x705.png 703w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-120x120.png 120w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass-450x451.png 450w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-bass.png 720w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-2wj55h-738bca6c3210a125fd6d131176ce7488 av_one_half  avia-builder-el-58  el_after_av_one_half  el_before_av_one_half  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-2r3ncd-b4fd9ccb172243751eaad6c798991e79 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>Example 2<\/strong>: Let us assume that C6 is to be sung by a soprano as an overtone in a composition. Each subharmonic of C6 can be used as the fundamental if it is within the vocal range of the singer. The soprano has a tonal range of approx. A3 to E6 within which the 2nd to 4th subharmonics of C6 are located. The 2nd subharmonic is omitted as a possible fundamental, because C6 would not be perceived as the 2nd partial (see section &#8221; Range &#8221; above). Thus only the basic notes C4 and F4 are available to the soprano for C6 as overtone.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-2lade5-f1c1d073bf534bdf43ee5e3bebf344e8 av_one_half  avia-builder-el-60  el_after_av_one_half  el_before_av_one_full  flex_column_div av-zero-column-padding  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2dly05-24edbe7674ba3a3f24b8641a936491b4\">\n.avia-image-container.av-2dly05-24edbe7674ba3a3f24b8641a936491b4 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-2dly05-24edbe7674ba3a3f24b8641a936491b4 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-2dly05-24edbe7674ba3a3f24b8641a936491b4 av-styling- av-img-linked avia-align-right  avia-builder-el-61  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran.png\" data-srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran.png 720w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-80x80.png 80w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-300x300.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-180x180.png 180w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-600x602.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-36x36.png 36w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-703x705.png 703w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-120x120.png 120w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-450x451.png 450w\" data-sizes=\"(max-width: 720px) 100vw, 720px\" class='avia_image '  aria-label='Find soprano fundamental notes to sing C6 as an overtone.'><img decoding=\"async\" width=\"300\" height=\"300\" class='wp-image-7034 avia-img-lazy-loading-not-7034 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-300x300.png\" alt='Find soprano fundamental notes to sing C6 as an overtone.' title='Find soprano fundamental notes to sing C6 as an overtone.'   itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-300x300.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-80x80.png 80w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-180x180.png 180w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-600x602.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-36x36.png 36w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-703x705.png 703w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-120x120.png 120w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran-450x451.png 450w, https:\/\/www.oberton.org\/wp-content\/uploads\/grundtoene-finden-sopran.png 720w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-271965-abcb89e48c11948de008e718a16f68c9 av_one_full  avia-builder-el-62  el_after_av_one_half  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-214fwl-f800aef993517e5aad76d23271bc9299 av-special-heading-h2 blockquote modern-quote  avia-builder-el-63  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Crossing Borders<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-1xtyh1-7cdae2df07afdd4244b954afca2f5bc3 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>G#7 is the highest overtone I&#8217;ve heard. It is produced by the throat singing masters Hosoo and Steve Sklar. Throat singing sounds louder, higher and more pressed than western overtone singing. The upper limit of the 2nd resonance frequency is D7, but since the whistle harmonics are produced by a double resonance of the 2nd and 3rd resonance frequencies, a different technique is probably used by throat singers in the highest register. I suspect that a double resonance of the 3rd and 4th resonance frequency is generated.<\/p>\n<p>Few experts can reach the 24th partial. The interval to the 23rd partial is very narrow, only about 2\/3 semitone. If the 24th partial is to be sung and D7 is not exceeded, G2 (98 Hz) or lower must be selected as the fundamental. You then have the partials 5 to 24 available (the 4th partial G4 is too low for overtone singing).<\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-1pjmi5-ff5a23cf5c314d23340b6077899a9fa2 av_one_full  avia-builder-el-65  el_after_av_one_full  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-1lfad-62c713b183840c3937e273385560691a av-special-heading-h2 blockquote modern-quote  avia-builder-el-66  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Women Only Use Half the Harmonic<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-1c8y91-69a1d8830927c8e110a0061c0fbe38c0 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>Men and women have almost identical overtone ranges<\/strong> because the vocal tract is much less different than the vocal pitch. The voices are an octave apart on average. With high voices the overtones are less dense, so there are fewer overtones available for overtone singing. Man and woman both have an average overtone range from A4 to D7, but the number of overtones is different in this interval.<\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-4c95p-1b4647dad1d0e0865cbdc4da3af68e5f\">\n.avia-image-container.av-4c95p-1b4647dad1d0e0865cbdc4da3af68e5f img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-4c95p-1b4647dad1d0e0865cbdc4da3af68e5f .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-4c95p-1b4647dad1d0e0865cbdc4da3af68e5f av-styling- av-img-linked avia-align-center  avia-builder-el-68  el_after_av_textblock  el_before_av_textblock '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960.png\" data-srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960.png 960w, https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960-300x152.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960-768x390.png 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960-600x304.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960-705x358.png 705w, https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960-450x228.png 450w\" data-sizes=\"(max-width: 960px) 100vw, 960px\" class='avia_image '  aria-label='Comparison of the overtones of bass and soprano'><img decoding=\"async\" width=\"960\" height=\"487\" class='wp-image-7086 avia-img-lazy-loading-not-7086 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960.png\" alt='Comparison of the overtones of bass and soprano' title='Comparison of the overtones of bass and soprano'   itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960.png 960w, https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960-300x152.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960-768x390.png 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960-600x304.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960-705x358.png 705w, https:\/\/www.oberton.org\/wp-content\/uploads\/Bass-d-Sopran-d1-Vergleich_960-450x228.png 450w\" sizes=\"(max-width: 960px) 100vw, 960px\" \/><\/a><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-14opbp-68c28d1faf66ea5a50b210c4df8dce09 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>While a soprano (above) can sing the harmonics of the 2nd to 4th octaves on D4, i. e. the harmonics 3 to 8, a bass\/tenor (below) can sing the harmonics 3 to 16 on D3. Both have the same frequency range of overtones A4 to D7, but a male voices can sing twice as many overtones as a female voice in this range, so men have a wider selection of steps. Sopranos have to change their fundamental tone more often to sing melodies with narrow intervals.<\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-xlx99-8199f8b4fe50e6a5e5d8b5b760dd4a65 av_one_full  avia-builder-el-70  el_after_av_one_full  el_before_av_comments_list  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-2sf4l-8bf0527d51792265289bdea2f493feaf av-special-heading-h2 blockquote modern-quote  avia-builder-el-71  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Pitch <span class='special_amp'>&amp;<\/span> Ambitus<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-lprod-b0a1e8b03271f3109d87ee647cbc01f0 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>C2 as fundamental<\/strong>: From C2 you would have many overtones available, but from the 16th partial the intervals become so narrow that you can hardly separate them. Since E5 is the lowest singable overtone (L-technique), one can only sing upwards from the 10th partial of C2. C2 is usually too low for normal singers to get enough sound pressure into the overtones.<br \/>\n<strong>A2 as fundamental<\/strong>: On A2 you can already sing up to 11 partials.<br \/>\n<strong>C3 as fundamental<\/strong>: On the middle register C3 of the tenor there are 12 possible notes.<br \/>\n<strong>C4 as fundamental<\/strong>: On C4, soprano, 7 partials can still be sung, but in the range of the larger intervals. The smallest interval in the harmonic series of C4 is the Pythagorean greater tone between C7 and D7.<\/p>\n<span id=\"tablepress-6-description\" class=\"tablepress-table-description tablepress-table-description-id-6\">Singbare Obert\u00f6ne auf verschiedenen Grundt\u00f6nen.<\/span>\n\n<table id=\"tablepress-6\" class=\"tablepress tablepress-id-6\" aria-describedby=\"tablepress-6-description\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\">Teilton<\/th><th class=\"column-2\">Bass<\/th><th class=\"column-3\">Bariton<\/th><th class=\"column-4\">Tenor<\/th><th class=\"column-5\">Sopran<\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">16<\/td><td class=\"column-2\">c3<\/td><td class=\"column-3\">a3<\/td><td class=\"column-4\">c4<\/td><td class=\"column-5\"><\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">15<\/td><td class=\"column-2\">h2<\/td><td class=\"column-3\">g#3<\/td><td class=\"column-4\">h3<\/td><td class=\"column-5\"><\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">14<\/td><td class=\"column-2\">a#3\u2193<\/td><td class=\"column-3\">g3\u2193<\/td><td class=\"column-4\">a#3\u2193<\/td><td class=\"column-5\"><\/td>\n<\/tr>\n<tr class=\"row-5\">\n\t<td class=\"column-1\">13<\/td><td class=\"column-2\">g#2\u2191<\/td><td class=\"column-3\">f3\u2191<\/td><td class=\"column-4\">g#3\u2191<\/td><td class=\"column-5\"><\/td>\n<\/tr>\n<tr class=\"row-6\">\n\t<td class=\"column-1\">12<\/td><td class=\"column-2\">g2<\/td><td class=\"column-3\">e3<\/td><td class=\"column-4\">g3<\/td><td class=\"column-5\"><\/td>\n<\/tr>\n<tr class=\"row-7\">\n\t<td class=\"column-1\">11<\/td><td class=\"column-2\">f#2\u2193<\/td><td class=\"column-3\">d#3\u2193<\/td><td class=\"column-4\">f#3\u2193<\/td><td class=\"column-5\"><\/td>\n<\/tr>\n<tr class=\"row-8\">\n\t<td class=\"column-1\">10<\/td><td class=\"column-2\">e2<\/td><td class=\"column-3\">c#2<\/td><td class=\"column-4\">e3<\/td><td class=\"column-5\"><\/td>\n<\/tr>\n<tr class=\"row-9\">\n\t<td class=\"column-1\">9<\/td><td class=\"column-2\"><\/td><td class=\"column-3\">h2<\/td><td class=\"column-4\">d3<\/td><td class=\"column-5\">d4<\/td>\n<\/tr>\n<tr class=\"row-10\">\n\t<td class=\"column-1\">8<\/td><td class=\"column-2\"><\/td><td class=\"column-3\">a2<\/td><td class=\"column-4\">c3<\/td><td class=\"column-5\">c4<\/td>\n<\/tr>\n<tr class=\"row-11\">\n\t<td class=\"column-1\">7<\/td><td class=\"column-2\"><\/td><td class=\"column-3\">g2\u2193<\/td><td class=\"column-4\">a#2\u2193<\/td><td class=\"column-5\">a#3\u2193<\/td>\n<\/tr>\n<tr class=\"row-12\">\n\t<td class=\"column-1\">6<\/td><td class=\"column-2\"><\/td><td class=\"column-3\">e2<\/td><td class=\"column-4\">g2<\/td><td class=\"column-5\">g3<\/td>\n<\/tr>\n<tr class=\"row-13\">\n\t<td class=\"column-1\">5<\/td><td class=\"column-2\"><\/td><td class=\"column-3\"><\/td><td class=\"column-4\">e2<\/td><td class=\"column-5\">e3<\/td>\n<\/tr>\n<tr class=\"row-14\">\n\t<td class=\"column-1\">4<\/td><td class=\"column-2\"><\/td><td class=\"column-3\"><\/td><td class=\"column-4\"><\/td><td class=\"column-5\">c3<\/td>\n<\/tr>\n<tr class=\"row-15\">\n\t<td class=\"column-1\">3<\/td><td class=\"column-2\"><\/td><td class=\"column-3\"><\/td><td class=\"column-4\"><\/td><td class=\"column-5\">g2<\/td>\n<\/tr>\n<tr class=\"row-16\">\n\t<td class=\"column-1\">2<\/td><td class=\"column-2\"><\/td><td class=\"column-3\"><\/td><td class=\"column-4\"><\/td><td class=\"column-5\"><\/td>\n<\/tr>\n<tr class=\"row-17\">\n\t<td class=\"column-1\">1<\/td><td class=\"column-2\">C<\/td><td class=\"column-3\">A<\/td><td class=\"column-4\">c<\/td><td class=\"column-5\">c1<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-6 from cache -->\n<\/div><\/section><\/p><\/div>\n<div  class='av-buildercomment av-dz2hx-52e9bf84f6f5bc366df212875f3aec69  av-blog-meta-html-info-disabled'><\/div>\n<div  class='av-special-heading av-aec8l-46346f323ec23a709b970d1890af16ec av-special-heading-h3 meta-heading  avia-builder-el-74  el_after_av_comments_list  avia-builder-el-last '><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >Tell a Friend<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n<div class=\"shariff shariff-align-left shariff-widget-align-left\" style=\"display:none\"><div class=\"ShariffHeadline\"><h3>Share<\/h3><\/div><ul class=\"shariff-buttons theme-round orientation-horizontal buttonsize-medium\"><li class=\"shariff-button twitter shariff-nocustomcolor\" style=\"background-color:#595959\"><a href=\"https:\/\/twitter.com\/share?url=https%3A%2F%2Fwww.oberton.org%2Fen%2Fovertone-singing%2Fcomposing-with-overtone-singing-composers-guide%2F&text=Composing%20for%20Overtone%20Singing%20%E2%80%93%20Composer%E2%80%99s%20Guide\" title=\"Bei X teilen\" aria-label=\"Bei X teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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