{"id":7434,"date":"2014-07-24T02:30:20","date_gmt":"2014-07-24T00:30:20","guid":{"rendered":"http:\/\/www.oberton.org\/chorphonetik-2\/"},"modified":"2023-04-11T10:58:25","modified_gmt":"2023-04-11T08:58:25","slug":"choralphonetics","status":"publish","type":"page","link":"https:\/\/www.oberton.org\/en\/choralphonetics\/","title":{"rendered":"Choral Phonetics &#8211; Vowels, Harmonics and Intonation"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-k3ry7iqi-877d179f5d2071c735d5d8b56d51fcd3\">\n.avia-section.av-k3ry7iqi-877d179f5d2071c735d5d8b56d51fcd3 .av-parallax .av-parallax-inner{\nbackground-repeat:no-repeat;\nbackground-image:url(https:\/\/www.oberton.org\/wp-content\/uploads\/choir-458173-1-1500x630.jpg);\nbackground-position:50% 0%;\nbackground-attachment:scroll;\n}\n.avia-section.av-k3ry7iqi-877d179f5d2071c735d5d8b56d51fcd3 .av-section-color-overlay{\nopacity:0.3;\nbackground-color:#000000;\n}\n<\/style>\n<div id='av_section_1'  class='avia-section av-k3ry7iqi-877d179f5d2071c735d5d8b56d51fcd3 main_color avia-section-default avia-no-border-styling  avia-builder-el-0  el_before_av_one_half  avia-builder-el-first  av-parallax-section avia-bg-style-parallax av-section-color-overlay-active av-minimum-height av-minimum-height-50 av-height-50  container_wrap sidebar_right'  data-section-bg-repeat='no-repeat' data-av_minimum_height_pc='50' data-av_min_height_opt='50'><div class='av-parallax' data-avia-parallax-ratio='0.3' ><div class='av-parallax-inner main_color avia-full-stretch'><\/div><\/div><div class=\"av-section-color-overlay-wrap\"><div class=\"av-section-color-overlay\"><\/div><div class='container av-section-cont-open' ><main  role=\"main\" itemprop=\"mainContentOfPage\"  class='template-page content  av-content-small alpha units'><div class='post-entry post-entry-type-page post-entry-7434'><div class='entry-content-wrapper clearfix'>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kebcr0vx-5434794f4b966ba480e4c08ab948258b\">\n#top .av-special-heading.av-kebcr0vx-5434794f4b966ba480e4c08ab948258b{\npadding-bottom:10px;\ncolor:#ffffff;\n}\nbody .av-special-heading.av-kebcr0vx-5434794f4b966ba480e4c08ab948258b .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-kebcr0vx-5434794f4b966ba480e4c08ab948258b .special-heading-inner-border{\nborder-color:#ffffff;\n}\n.av-special-heading.av-kebcr0vx-5434794f4b966ba480e4c08ab948258b .av-subheading{\nfont-size:15px;\ncolor:#ffffff;\n}\n<\/style>\n<div  class='av-special-heading av-kebcr0vx-5434794f4b966ba480e4c08ab948258b av-special-heading-h1 custom-color-heading blockquote modern-quote  avia-builder-el-1  avia-builder-el-no-sibling  av-linked-heading'><h1 class='av-special-heading-tag '  itemprop=\"headline\"  >Choral Phonetics<\/h1><div class='av_custom_color av-subheading av-subheading_below'><p>How intonation depends on correct vowels<\/p>\n<\/div><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n<\/div><\/div><\/main><!-- close content main element --><\/div><\/div><\/div><div id='after_section_1'  class='main_color av_default_container_wrap container_wrap sidebar_right'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-small alpha units'><div class='post-entry post-entry-type-page post-entry-7434'><div class='entry-content-wrapper clearfix'>\n<div  class='flex_column av-2ng5osm-0347741f242f771cbbd60e430be7a84d av_one_half  avia-builder-el-2  el_after_av_section  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-2khv65y-186d6ea22a509cca0182722a94d9ec6c\">\n#top .av_textblock_section.av-2khv65y-186d6ea22a509cca0182722a94d9ec6c .avia_textblock{\nfont-size:16px;\n}\n<\/style>\n<section  class='av_textblock_section av-2khv65y-186d6ea22a509cca0182722a94d9ec6c '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><blockquote>\n<p>Choral phonetics is a vocal and aural training methodology developed by Wolfgang Saus that enables choirs and ensembles to precisely shape intonation and homogeneity by fine-tuning the overtones of vowels.<\/p>\n<\/blockquote>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-2logis6-8916e26e1abd469e73cb97c34d807046 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>Since 1983, the methodology has been continuously refined in terms of didactics, science and practical experience with choirs and ensembles. It is not only suitable for professional singers, but is also interesting for ambitious amateur choirs as an efficient and intuitive tool to understand intonation in a completely new way.<\/p>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-2logis6-1-9b49dddcf2d272abfcc6109319892a82 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>(This text contains parts from a lecture by Wolfgang Saus, 10th Stuttgarter Stimmtage, October 10-12, 2014).<\/p>\n<\/div><\/section><\/p><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2hllqpi-9c8b9a1816b840b9dc7e667238916935\">\n.flex_column.av-2hllqpi-9c8b9a1816b840b9dc7e667238916935{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-2hllqpi-9c8b9a1816b840b9dc7e667238916935 av_one_half  avia-builder-el-6  el_after_av_one_half  el_before_av_one_fourth  flex_column_div av-zero-column-padding  '     ><section  class='av_textblock_section av-2ga5pie-a9f3f30d85047043413c79f9b6b75635 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" >\n<\/div><\/section><\/div><div  class='flex_column av-2f926t2-12897b7fe196a136f7e7abef34a0f28c av_one_fourth  avia-builder-el-8  el_after_av_one_half  el_before_av_one_fourth  first flex_column_div  column-top-margin'     ><p><span  class='av_font_icon av-8jzg52-292cbdc50151b84bdc5f7aab76eed5b0 avia_animate_when_visible av-icon-style-border avia-icon-pos-center avia-iconfont avia-font-entypo-fontello av-no-color avia-icon-animate'><a href='https:\/\/www.oberton.org\/wp-content\/uploads\/ws-Choral-Phonetics-vh-2.pdf'  target=\"_blank\"  rel=\"noopener noreferrer\"  class='av-icon-char' data-av_icon='\ue82d' data-av_iconfont='entypo-fontello' aria-hidden=\"false\" data-avia-icon-tooltip=\"&lt;br \/&gt;\nDownload PDF&lt;br \/&gt;\n\"><\/a><span class='av_icon_caption av-special-font'>Chorphonetik, Vox Humana 01\/2015<\/span><\/span><br \/>\n<section  class='av_textblock_section av-2bd1gra-d7b5cbf22dceed325ac9f021e8a700d8 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div class=\"csl-bib-body\" style=\"text-align: center;\">\n<div class=\"csl-entry\"><span class=\"zp-InText-zp-ID--935790-NU9DPI8G--wp7434 zp-InText-Citation loading\" rel=\"{ 'pages': 'np', 'items': '{935790:NU9DPI8G}', 'format': '(%a%, %d%, %p%)', 'brackets': '', 'etal': '', 'separator': '', 'and': '' }\"><\/span><\/div>\n<\/div>\n<\/div><\/section><\/p><\/div><\/p>\n<div  class='flex_column av-2ajj0au-f1971c3407bd2d6cab0b146aa808e798 av_one_fourth  avia-builder-el-11  el_after_av_one_fourth  el_before_av_one_fourth  flex_column_div av-zero-column-padding  column-top-margin'     ><span  class='av_font_icon av-29134qu-e2c0c8c6143043e0c77320c6f7639deb avia_animate_when_visible av-icon-style-border avia-icon-pos-center avia-iconfont avia-font-entypo-fontello av-no-color avia-icon-animate'><a href='\/wp-content\/uploads\/ws-Choral-Phonetics-vh-2.pdf'  target=\"_blank\"  rel=\"noopener noreferrer\"  class='av-icon-char' data-av_icon='\ue82d' data-av_iconfont='entypo-fontello' aria-hidden=\"false\" data-avia-icon-tooltip=\"&lt;br \/&gt;\nDownload PDF&lt;br \/&gt;\n\"><\/a><span class='av_icon_caption av-special-font'>Choral Phonetics (English), translated from Vox Humana 01\/2015<\/span><\/span><\/div>\n<div  class='flex_column av-26vbx52-4ea87bf2a29fb47f2aedaed2d9c3cf3b av_one_fourth  avia-builder-el-13  el_after_av_one_fourth  el_before_av_one_fourth  flex_column_div av-zero-column-padding  column-top-margin'     ><span  class='av_font_icon av-24pfs2e-70dee460a10dea416dd50e86980099a3 avia_animate_when_visible av-icon-style-border avia-icon-pos-center avia-iconfont avia-font-entypo-fontello av-no-color avia-icon-animate'><a href='https:\/\/www.oberton.org\/wp-content\/uploads\/ws_Chorphonetik-Expose.pdf'  target=\"_blank\"  rel=\"noopener noreferrer\"  class='av-icon-char' data-av_icon='\ue82d' data-av_iconfont='entypo-fontello' aria-hidden=\"false\" data-avia-icon-tooltip=\"&lt;br \/&gt;\nDownload PDF&lt;br \/&gt;\n\"><\/a><span class='av_icon_caption av-special-font'>Chorphonetik Expos\u00e9 (German)<\/span><\/span><\/div>\n<div  class='flex_column av-r34xi-7acba31804f38dfcae1502ecd0d837e3 av_one_fourth  avia-builder-el-15  el_after_av_one_fourth  el_before_av_one_full  flex_column_div av-zero-column-padding  column-top-margin'     ><p><span  class='av_font_icon av-21k4chy-99251fe5a625f32e84484471a819fd69 avia_animate_when_visible av-icon-style-border avia-icon-pos-center avia-iconfont avia-font-entypo-fontello av-no-color avia-icon-animate'><a href='https:\/\/www.oberton.org\/wp-content\/uploads\/stimmung-and-vowel-overtone-singing-2lr_sp_EN.pdf'  target=\"_blank\"  rel=\"noopener noreferrer\"  class='av-icon-char' data-av_icon='\ue82d' data-av_iconfont='entypo-fontello' aria-hidden=\"false\" data-avia-icon-tooltip=\"&lt;br \/&gt;\nDownload PDF&lt;br \/&gt;\n\"><\/a><span class='av_icon_caption av-special-font'>Stockhausen\u2019s Stimmung and Vowel Overtone Singing<\/span><\/span><br \/>\n<section  class='av_textblock_section av-1zelx92-7aebfcfd57148ee20b8acd6dc459e9da '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div class=\"csl-bib-body\" style=\"text-align: center;\">\n<div class=\"csl-entry\"><span class=\"zp-InText-zp-ID--935790-2VZC2EJ5--wp7434 zp-InText-Citation loading\" rel=\"{ 'pages': 'np', 'items': '{935790:2VZC2EJ5}', 'format': '(%a%, %d%, %p%)', 'brackets': '', 'etal': '', 'separator': '', 'and': '' }\"><\/span><\/div>\n<\/div>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-1yk613a-f6caf301f7a6b3085cce8faa4ba1f6ae av_one_full  avia-builder-el-18  el_after_av_one_fourth  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p><section  class='av_textblock_section av-1weelrq-95f860f96b01d6bc35ea47e8879077a4 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>Singers will learn to align their formants with harmonics in such a way that they fit into the musical context and match within a group of voices. Formants create an (unconsciously perceived) pitch impression that influences intonation and homogeneity. Vocal pedagogical methods of overtone singing form the basis for the training of the perception of this pitch information and for the control of formants by the form of the vocal tract.<\/p>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-6ng0za-fc73db3e0e1b2b1d568734d399d60fbd '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>I divide my lecture into two sections:<\/p>\n<ol>\n<li><strong>New view of old knowledge<\/strong><br \/>\n&#8211; Formants as a melody instrument.<\/li>\n<li><strong>Innovations<\/strong><br \/>\n&#8211; Vocal technique of precise formant control<br \/>\n&#8211; Effect of formants on intonation (choral phonetics) &#8211; main topic<br \/>\n&#8211; Didactics of formant control<br \/>\n&#8211; Outlook: Consequences for speaking and singing phonetics<\/li>\n<\/ol>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-6hyes6-3232da429cdaf4059e8d7e5b5215475d '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>Formants as Melody<\/h2>\n<p>Distinguishing voice phonetics from speech phonetics is not new <span class=\"zp-InText-zp-ID--935790-VNUTMQJX--wp7434 zp-InText-Citation loading\" rel=\"{ 'pages': 'np', 'items': '{935790:VNUTMQJX}', 'format': '(%a%, %d%, %p%)', 'brackets': '', 'etal': '', 'separator': '', 'and': '' }\"><\/span>. What is new is the way in which the vowel timbre is heard and viewed as a &#8220;melody in the timbre&#8221;. When you start to hear <strong>individual overtones in vowels<\/strong>, vowels are heard as pairs of notes and not just as a timbre.<\/p>\n<p>Experiments with amateur and professional choirs show that the sound information contained in the vowels influences the intonation even if it is not consciously perceived. The sound information is derived from the first and second formants, with the second formant having a much stronger effect.<\/p>\n<p>Overtones are normally not heard for two reasons: 1) The perception of vowels is flexible with regard to formants. We hear the same vowel, even if the formants differ a fifth or more from the average. 2) The singers are not trained in the perception of overtones and therefore only listen to timbres.<\/p>\n<p>Chorus singers first have to learn to <strong>consciously hear overtones<\/strong> in order to be able to sing their formants accurately. Afterwards they learn techniques to tune the second formant.<\/p>\n<p>When choir singers synchronize their formants within a voice group, they create homogeneity. Since several positions of the formants are possible for each vowel, the conductor can emphasize those partials that fit into the musical context and at the same time stabilize other voices. The results are:<\/p>\n<ul>\n<li>Homogeneity is created by uniform formants.<\/li>\n<li>Just intonation is based on overtones in vowels.<\/li>\n<li>Hearing and motor skills of the singers are refined.<\/li>\n<li>The timbre becomes composable.<\/li>\n<\/ul>\n<\/div><\/section><br \/>\n<div  class='av-alb-blogposts template-blog  av-blog-meta-html-info-disabled '  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/Blog\" ><article class=\"post-entry post-entry-type-video post-entry-24870 post-loop-1 post-parity-odd post-entry-last multi-big with-slider post-24870 post type-post status-publish format-video has-post-thumbnail hentry category-choral-phonetics category-about-overtone-singing tag-choralphonetics tag-hearing tag-hearing-test tag-overtone-singing-tutorials tag-science post_format-post-format-video\"  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" ><div class=\"big-preview multi-big\"  itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><a href=\"https:\/\/www.oberton.org\/en\/do-you-hear-a-melody-or-syllables\/\"  title=\"Do You Hear a Melody or Syllables?\" ><img decoding=\"async\" fetchpriority=\"high\" width=\"845\" height=\"321\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/do-you-hear-a-melody-or-syllable-845x321.jpg\" class=\"wp-image-24871 avia-img-lazy-loading-not-24871 attachment-entry_with_sidebar size-entry_with_sidebar wp-post-image\" alt=\"\" \/><\/a><\/div><div class=\"blog-meta\"><a href='https:\/\/www.oberton.org\/type\/video\/' class='post-author-format-type'><span class='rounded-container'><span class='iconfont avia-svg-icon avia-font-svg_entypo-fontello' data-av_svg_icon='video' data-av_iconset='svg_entypo-fontello' ><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"31\" height=\"32\" viewBox=\"0 0 31 32\" preserveAspectRatio=\"xMidYMid meet\" role=\"graphics-symbol\" aria-hidden=\"true\">\n<path d=\"M31.36 8h-3.2v3.2h3.2v3.2h-3.2v3.2h3.2v3.2h-3.2v3.2h3.2v1.92q0 0.512-0.384 0.896t-0.896 0.384h-28.8q-0.512 0-0.896-0.384t-0.384-0.896v-1.92h3.2v-3.2h-3.2v-3.2h3.2v-3.2h-3.2v-3.2h3.2v-3.2h-3.2v-1.92q0-0.576 0.384-0.928t0.896-0.352h28.8q0.512 0 0.896 0.352t0.384 0.928v1.92zM12.16 20.8l8-4.8-8-4.8v9.6z\"><\/path>\n<\/svg><\/span><\/span><\/a><\/div><div class='entry-content-wrapper clearfix video-content'><header class=\"entry-content-header\" aria-label=\"Post: Do You Hear a Melody or Syllables? Saus&#8217; Hearing Test.\"><h2 class='post-title entry-title '  itemprop=\"headline\" ><a href=\"https:\/\/www.oberton.org\/en\/do-you-hear-a-melody-or-syllables\/\" rel=\"bookmark\" title=\"Permanent Link: Do You Hear a Melody or Syllables? Saus&#8217; Hearing Test.\">Do You Hear a Melody or Syllables? Saus&#8217; Hearing Test.<span class=\"post-format-icon minor-meta\"><\/span><\/a><\/h2><span class=\"post-meta-infos\"><time class=\"date-container minor-meta updated\"  itemprop=\"datePublished\" datetime=\"2022-07-10T13:47:09+02:00\" >10. July 2022<\/time><span class=\"text-sep\">\/<\/span><span class=\"comment-container minor-meta\"><a href=\"https:\/\/www.oberton.org\/en\/do-you-hear-a-melody-or-syllables\/#comments\" class=\"comments-link\" >1 Comment<\/a><\/span><span class=\"text-sep\">\/<\/span><span class=\"blog-categories minor-meta\">in <a href=\"https:\/\/www.oberton.org\/en\/category\/specialist-articles\/choral-phonetics\/\" rel=\"tag\">Choral Phonetics<\/a>, <a href=\"https:\/\/www.oberton.org\/en\/category\/specialist-articles\/about-overtone-singing\/\" rel=\"tag\">Overtone Singing<\/a><\/span><span class=\"text-sep\">\/<\/span><span class=\"blog-author minor-meta\">by <span class=\"entry-author-link\"  itemprop=\"author\" ><span class=\"author\"><span class=\"fn\"><a href=\"https:\/\/www.oberton.org\/en\/author\/wpadmin\/\" rel=\"author\">Wolfgang Saus<\/a><\/span><\/span><\/span><\/span><\/span><\/header><div class=\"entry-content\"  itemprop=\"text\" ><p>Can You Hear the Hidden Melody? Only 5% Can!Watch this video on YouTube In this video you will learn how to hear harmonics in vowels. 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background-color:#fff; color:#fff\" target=\"_blank\"><span class=\"shariff-icon\" style=\"\"><svg width=\"32px\" height=\"20px\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 11 32\"><path fill=\"#999\" d=\"M11.4 24v2.3q0 0.5-0.3 0.8t-0.8 0.4h-9.1q-0.5 0-0.8-0.4t-0.4-0.8v-2.3q0-0.5 0.4-0.8t0.8-0.4h1.1v-6.8h-1.1q-0.5 0-0.8-0.4t-0.4-0.8v-2.3q0-0.5 0.4-0.8t0.8-0.4h6.8q0.5 0 0.8 0.4t0.4 0.8v10.3h1.1q0.5 0 0.8 0.4t0.3 0.8zM9.2 3.4v3.4q0 0.5-0.4 0.8t-0.8 0.4h-4.6q-0.4 0-0.8-0.4t-0.4-0.8v-3.4q0-0.4 0.4-0.8t0.8-0.4h4.6q0.5 0 0.8 0.4t0.4 0.8z\"\/><\/svg><\/span><\/a><\/li><\/ul><\/div><\/div><footer class=\"entry-footer\"><\/footer><div class='post_delimiter'><\/div><\/div><div class=\"post_author_timeline\"><\/div><span class='hidden'>\n\t\t\t\t<span class='av-structured-data'  itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" >\n\t\t\t\t\t\t<span itemprop='url'>https:\/\/www.oberton.org\/wp-content\/uploads\/do-you-hear-a-melody-or-syllable.jpg<\/span>\n\t\t\t\t\t\t<span itemprop='height'>720<\/span>\n\t\t\t\t\t\t<span itemprop='width'>1280<\/span>\n\t\t\t\t<\/span>\n\t\t\t\t<span class='av-structured-data'  itemprop=\"publisher\" itemtype=\"https:\/\/schema.org\/Organization\" itemscope=\"itemscope\" >\n\t\t\t\t\t\t<span itemprop='name'>Wolfgang Saus<\/span>\n\t\t\t\t\t\t<span itemprop='logo' itemscope itemtype='https:\/\/schema.org\/ImageObject'>\n\t\t\t\t\t\t\t<span itemprop='url'>https:\/\/www.oberton.org\/wp-content\/uploads\/logo-schmetterling-s.png<\/span>\n\t\t\t\t\t\t<\/span>\n\t\t\t\t<\/span><span class='av-structured-data'  itemprop=\"author\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/Person\" ><span itemprop='name'>Wolfgang Saus<\/span><\/span><span class='av-structured-data'  itemprop=\"datePublished\" datetime=\"2022-07-10T13:47:09+02:00\" >2022-07-10 13:47:09<\/span><span class='av-structured-data'  itemprop=\"dateModified\" itemtype=\"https:\/\/schema.org\/dateModified\" >2024-02-06 12:25:25<\/span><span class='av-structured-data'  itemprop=\"mainEntityOfPage\" itemtype=\"https:\/\/schema.org\/mainEntityOfPage\" ><span itemprop='name'>Do You Hear a Melody or Syllables? Saus&#8217; Hearing Test.<\/span><\/span><\/span><\/article><div class='multi-big'><\/div><\/div><\/p><\/div>\n<div  class='flex_column av-1rlvedi-9b79033d697b388fb77eafae860b9bdd av_one_full first flex_column_div  '     ><section  class='av_textblock_section av-1qgg9ti-1185722340f1da80fa5b367ba43d8e3e '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>Controlling Formants<\/h2>\n<p>I learned to adjust the first three formants independently and accurately. The independent formant control is the basis of overtone singing, a vocal technique in which a singer apparently sings two tones at the same time by tuning two resonance frequencies to one and the same frequency and then singing a &#8220;formant melody&#8221; along the harmonic series with the resulting double resonator. For choir singers it is only necessary to <strong>control the second formant<\/strong>, because it conveys the predominant sound impression.<\/p>\n<p>The first step to control the formants is a hearing training in order to identify the harmonics. Tongue movements are trained in a second step. The second formant is regulated by the <strong>epiglottis and the root of the tongue<\/strong>.<\/p>\n<\/div><\/section><br \/>\n<article  class='iconbox iconbox_left_content av-1nzt99y-b72f4963626edc0d5e1913a0b29e9519 av-icon-style-no-border'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='iconbox_icon heading-color avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue855' data-av_iconfont='entypo-fontello'  ><\/div><div class=\"iconbox_content\"><header class=\"entry-content-header\" aria-label=\"Icon: Practice\"><h3 class='iconbox_content_title '  itemprop=\"headline\" >Practice<\/h3><\/header><div class='iconbox_content_container '  itemprop=\"text\" ><p>An exclusive movement of the second formant is obtained by restricting yourself to the vocal sequence I-Y-U, resting the anterior part of the tongue, jaw and lips.<\/p>\n<p>Let the tongue hang out of the mouth and place it loosely on the lower lip. Then sing English YOU and French OUI in slow motion. You will hear a soft sequence of overtones that both sharpen the ear and train the motor functions for the corresponding movements of the tongue base and epiglottis.<\/p>\n<p>After just one or two hours of practice, experienced singers can position the second formant exactly to a semitone.<\/p>\n<\/div><\/div><footer class=\"entry-footer\"><\/footer><\/article><br \/>\n<div  class='avia-gallery av-1m9yqye-174244f26591363d015c4dd31444584c avia_animate_when_visible avia_lazyload avia-gallery-animate avia-gallery-1'  itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><meta itemprop=\"contentURL\" content=\"https:\/\/www.oberton.org\/en\/do-you-hear-a-melody-or-syllables\/\"><div class='avia-gallery-thumb'><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-1030x579.png\" data-srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-1030x579.png 1030w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-300x168.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-768x432.png 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-600x338.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-705x397.png 705w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-450x253.png 450w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match.png 1280w\" data-sizes=\"(max-width: 1030px) 100vw, 1030px\" data-rel='gallery-1' data-prev-img='https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-495x400.png' class='first_thumb lightbox  ' data-onclick='1' title='Die Nuance von [a] ist perfekt auf den Sington D abgestimmt. Die Formanten liegen exakt auf Teilt\u00f6nen.'  itemprop=\"thumbnailUrl\"  ><img decoding=\"async\" class=\"wp-image-6008 avia-img-lazy-loading-not-6008\"  data-avia-tooltip='Die Nuance von [a] ist perfekt auf den Sington D abgestimmt. Die Formanten liegen exakt auf Teilt\u00f6nen.' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-300x169.png\" width=\"300\" height=\"169\"  title='Amen - Formants match' alt='' srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-300x168.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-1030x579.png 1030w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-768x432.png 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-600x338.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-705x397.png 705w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-450x253.png 450w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match.png 1280w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><div class='big-prev-fake'><img decoding=\"async\" class=\"wp-image-6008 avia-img-lazy-loading-not-6008\"  width=\"495\" height=\"400\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-495x400.png\" title='Amen - Formants match' alt='' srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-495x400.png 495w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-845x684.png 845w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-match-710x575.png 710w\" sizes=\"(max-width: 495px) 100vw, 495px\" \/><\/div><\/a><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-1030x579.png\" data-srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-1030x579.png 1030w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-300x168.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-768x432.png 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-600x338.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-705x397.png 705w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-450x253.png 450w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match.png 1280w\" data-sizes=\"(max-width: 1030px) 100vw, 1030px\" data-rel='gallery-1' data-prev-img='https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-495x400.png' class='lightbox  ' data-onclick='2' title='Die Nuance von [a] passt nicht zum Ton D. Die Formanten liegen zwischen Teilt\u00f6nen.'  itemprop=\"thumbnailUrl\"  ><img decoding=\"async\" class=\"wp-image-6009 avia-img-lazy-loading-not-6009\"  data-avia-tooltip='Die Nuance von [a] passt nicht zum Ton D. Die Formanten liegen zwischen Teilt\u00f6nen.' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-300x169.png\" width=\"300\" height=\"169\"  title='Amen - Formants do not match' alt='' srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-300x168.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-1030x579.png 1030w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-768x432.png 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-600x338.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-705x397.png 705w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-450x253.png 450w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match.png 1280w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><div class='big-prev-fake'><img decoding=\"async\" class=\"wp-image-6009 avia-img-lazy-loading-not-6009\"  width=\"495\" height=\"400\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-495x400.png\" title='Amen - Formants do not match' alt='' srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-495x400.png 495w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-845x684.png 845w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-Formants-do-not-match-710x575.png 710w\" sizes=\"(max-width: 495px) 100vw, 495px\" \/><\/div><\/a><\/div><\/div><\/p><\/div>\n<div  class='flex_column av-1kj5qcm-e0eb6d92f8c9cf1d5b16c7a6e7d77b22 av_one_full first flex_column_div  '     ><section  class='av_textblock_section av-1jic2l2-82527fe89d43c3430094dc25c0d10808 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p>When formants are placed exactly on frequencies of partials of a singing tone, the tone sounds full and loud, the generally desired goal in classical singing.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-1ik7i6u-1e73962fc1d55eb3ec57494b7678dee8 av_one_full first flex_column_div  '     ><section  class='av_textblock_section av-1fxbv86-a4c4eb08a812bf1bde77d117bedbb54c '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>The IPA Vowel Chart is Too Inaccurate<\/h2>\n<div id=\"attachment_7340\" style=\"width: 310px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-7340\" class=\"alignright wp-image-6134 size-medium\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/\/Ipa-chart-vowels-300x277.png\" alt=\"IPA Vowel Chart\" width=\"300\" height=\"277\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Ipa-chart-vowels-300x277.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/Ipa-chart-vowels.png 450w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-7340\" class=\"wp-caption-text\">Conventional IPA vowel chart. Source: Grendelkhan, Nohat (own work) (<a href=\"http:\/\/creativecommons.org\/licenses\/by-sa\/3.0\/\">CC-BY-SA-3.0<\/a>), <a href=\"http:\/\/commons.wikimedia.org\/wiki\/File%3AIpa-chart-vowels.png\">via Wikimedia Commons<\/a>.<\/p><\/div>\n<p>As soon as the formants are being perceived and adjusted as pitches, the vowel descriptions of phonetics &#8211; closed\/open, rear\/front, rounded\/unrounded &#8211; are no longer useful and far too imprecise for what choral phonetics requires.<\/p>\n<p>In choral phonetics (generally in singing phonetics) it makes more sense to indicate the <strong>vowels as tone pairs\/tripples<\/strong> of formants. Vocalists learn to control their vocal tract in such a way that they can change individual formants in pitch, completely different from phonetic descriptions, where two formants are mostly moved simultaneously and unconsciously. I will shortly be submitting a proposal for a <strong>singing vowel chart<\/strong> that describes the exact location of every vowel, regardless of language.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-1ekde5i-0dc45b2fab33d50a6a1b1d6ceca246b5 av_one_full first flex_column_div  '     ><section  class='av_textblock_section av-4xry52-1746395287bf558b6f70368adb1db242 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>Vowels 10 Times More Precisely<\/h2>\n<p>.<br \/>\nIn conventional voice training, the possibilities for controlling choral vowels are limited to singers&#8217; abilities to implement vowel color through imitation, pictorial descriptions, or word-sound comparisons. In professional choirs, this is compounded by the experience with which singers <strong>intuitively<\/strong> choose vowels that are well matched to the musical context-usually without knowledge of the background. The better a choir does at this, the better its sound quality.<\/p>\n<p>Vowels become up to 10 times more precisely nuanced when formants are placed with tonal accuracy, like musical instruments. Phoneticians create formant maps for vowels by averaging the frequency positions of many speakers. The comparison of different authors alone shows how tolerant our vowel hearing is to formant deviations:<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-1bwc69y-00e7fca062c2977a47f8ba1556dde8a7 av_one_half first flex_column_div  '     ><section  class='av_textblock_section av-19n35cm-bf8913c14b612f984ba2ba5703873287 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><span id=\"tablepress-9-description\" class=\"tablepress-table-description tablepress-table-description-id-9\">Formantfrequenzen von \u0259 im Autorenvergleich.<\/span>\n\n<table id=\"tablepress-9\" class=\"tablepress tablepress-id-9\" aria-describedby=\"tablepress-9-description\">\n<thead>\n<tr class=\"row-1\">\n\t<th class=\"column-1\">Autoren<\/th><th class=\"column-2\">F1\/Hz<\/th><th class=\"column-3\">F2\/Hz<\/th>\n<\/tr>\n<\/thead>\n<tbody class=\"row-striping row-hover\">\n<tr class=\"row-2\">\n\t<td class=\"column-1\">Sendlmeier\/Seebode<\/td><td class=\"column-2\">517<\/td><td class=\"column-3\">1447<\/td>\n<\/tr>\n<tr class=\"row-3\">\n\t<td class=\"column-1\">Neppert<\/td><td class=\"column-2\">375<\/td><td class=\"column-3\">1525<\/td>\n<\/tr>\n<tr class=\"row-4\">\n\t<td class=\"column-1\">Dowd<\/td><td class=\"column-2\">510<\/td><td class=\"column-3\">1670<\/td>\n<\/tr>\n<tr class=\"row-5\">\n\t<td class=\"column-1\">Wikipedia<\/td><td class=\"column-2\">560<\/td><td class=\"column-3\">1170<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<!-- #tablepress-9 from cache -->\n<\/div><\/section><\/div>\n<div  class='flex_column av-17dewl2-df0a4035f6fb759cbb97af303c2dc54e av_one_half flex_column_div av-zero-column-padding  '     ><div  class='avia-gallery av-16v9ts6-6037a9984fb329e674355b4ea4c4a9a1 avia_animate_when_visible avia_lazyload avia-gallery-animate avia-gallery-2'  itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><meta itemprop=\"contentURL\" content=\"https:\/\/www.oberton.org\/en\/do-you-hear-a-melody-or-syllables\/\"><div class='avia-gallery-thumb'><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich.png\" data-srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich.png 514w, https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich-237x300.png 237w, https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich-450x570.png 450w\" data-sizes=\"(max-width: 514px) 100vw, 514px\" data-rel='gallery-2' data-prev-img='https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich-237x300.png' class='first_thumb lightbox  ' data-onclick='1' title='Abweichungen bis zu einer Quinte f\u00fcr \u0259 bei verschiedenen Autoren.'  itemprop=\"thumbnailUrl\"  ><img decoding=\"async\" class=\"wp-image-6064 avia-img-lazy-loading-not-6064\"  data-avia-tooltip='Abweichungen bis zu einer Quinte f\u00fcr \u0259 bei verschiedenen Autoren.' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich-237x300.png\" width=\"237\" height=\"300\"  title='Formantfrequenzen-Schwa-Autorenvergleich' alt='Formantfrequenzen f\u00fcr Schwa im Autorenvergleich' srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich-237x300.png 237w, https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich-450x570.png 450w, https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich.png 514w\" sizes=\"(max-width: 237px) 100vw, 237px\" \/><div class='big-prev-fake'><img decoding=\"async\" class=\"wp-image-6064 avia-img-lazy-loading-not-6064\"  width=\"237\" height=\"300\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich-237x300.png\" title='Formantfrequenzen-Schwa-Autorenvergleich' alt='Formantfrequenzen f\u00fcr Schwa im Autorenvergleich' srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich-237x300.png 237w, https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich-450x570.png 450w, https:\/\/www.oberton.org\/wp-content\/uploads\/Formantfrequenzen-Schwa-Autorenvergleich.png 514w\" sizes=\"(max-width: 237px) 100vw, 237px\" \/><\/div><\/a><\/div><\/div><\/div>\n<div  class='flex_column av-15aauwm-8b4df9cdf3c117a0efaaf20b6ed2d15f av_one_full first flex_column_div  '     ><section  class='av_textblock_section av-12temkm-1d4976782fb8a63b8b81a835df983f7d '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p>The average formant frequencies found by different authors for \u0259 deviate from each other up to a fifth. In addition, there are even larger differences between individual speakers whose values form the basis of the data.<\/p>\n<p>A fifth shift of the 1st and 2nd formants is hardly a difference when speaking. However, for musicians who can tune their formants exactly, and for choir sound and intonation, a fifth is a huge difference. Theoretically there would be 7 (halftone) gradations for each of the formants of the \u0259 nuances. In practice, however, the gradations are limited to the harmonics available. These in turn depend on the sung pitch.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-119u8om-72eb94e5e8ff0ec6f242ee2ee1deaf34 av_one_full first flex_column_div  '     ><section  class='av_textblock_section av-zkbqgm-8c13994ececd51e17f80b44a0e0bb01e '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>Practical example: Amen<\/h2>\n<p>The following example shows how this can look like in a choir. The word Amen is sung as a four-part D major chord.<\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-yel18m-51ca3547e2242e178f244628cc92cb11\">\n.avia-image-container.av-yel18m-51ca3547e2242e178f244628cc92cb11 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-yel18m-51ca3547e2242e178f244628cc92cb11 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-yel18m-51ca3547e2242e178f244628cc92cb11 av-styling- avia-align-center'   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-7341 avia-img-lazy-loading-not-7341 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-D-Dur-Formanten.png\" alt='Amen D major formants' title='Amen D major formants'  height=\"496\" width=\"710\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-D-Dur-Formanten.png 710w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-D-Dur-Formanten-300x209.png 300w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-D-Dur-Formanten-600x419.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-D-Dur-Formanten-705x492.png 705w, https:\/\/www.oberton.org\/wp-content\/uploads\/Amen-D-Dur-Formanten-450x314.png 450w\" sizes=\"(max-width: 710px) 100vw, 710px\" \/><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-w1omdi-89985f965050145869d4dba2cd0fb0bf '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p><em>Bass brightens up the syllable &#8220;men&#8221; a little bit with every step by placing its 2nd formant on the 8th, 9th or 10th partial (harmonic).<\/em><\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-v7a886-ee09c3faffd119fa67fb886a5647ba9b av_one_full first flex_column_div  '     ><section  class='av_textblock_section av-tggs6u-c88957530207dc6200d7e7c6648d9757 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>A Perfect Third in Alto Supported by a Bright Vowel in Bass<\/h2>\n<p>As soon as the bass accentuates the 10th harmonic, the perfect third (third variation, bar 6), a significant change of intonation occurs in the alto voice. It drops to the natural third (14 cents below the equal tempered thirds). The 10th harmonic, F6 sharp, in the bass voice is identical to the 4th harmonic in the alto F sharp. The alto intuitively adapts its fundamental to the perfect third in order to avoid beats (assuming chamber choir qualities). The chord results in just intonation. At the same time, soprano and alto form a perfect minor third with all harmonic and thus produce D2 as a difference tone, an octave below bass. The whole chord sounds full, room-filling and stable.<\/p>\n<p>The second variant (bar 4) produces a very stable fifth. With exactly the same formant arrangement (identical pronunciation) in bass, tenor and soprano, all three voices emphasize the same overtone E6, as the 9th partial in bass, 6th partial in tenor, 3rd partial in soprano.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-qqmu2e-cb0b491495f784c02d13c3eb90684a14 av_one_full first flex_column_div  '     ><section  class='av_textblock_section av-q9qrmu-dbc86460b4fbdbfe912c4fad88bb3473 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>Freedom of the 2nd Formant in the Syllable\u00a0<em>men<\/em><\/h2>\n<p>The syllable <em>men<\/em> is spoken with the neutral vowel schwa, \u0259. Depending on the fundamental tone, there are several possible timbre of the syllable in singing. Bass can sing <em>men<\/em> on D3 in such a way that either the 8th, 9th or 10th harmonic &#8211; D6, E6 or F#6 &#8211; will be amplyfied without significantly changing the vowel character.<\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-sub-av-nebk52-b196d95d29f8c96ecfe0395146ecf4b3\">\n.av-hotspot-image-container .av-image-hotspot.av-m54z1i-10a73cac6c8ab784e43e801efc3ec4aa{\ntop:24.3%;\nleft:34.5%;\n}\n.av-hotspot-image-container .av-image-hotspot.av-k5adra-ac588acb2dcfeb98460ee8dd0fc93de3{\ntop:22.2%;\nleft:50.9%;\n}\n.av-hotspot-image-container .av-image-hotspot.av-imu2rq-3969c0f097b729c7c7bd1ae1054b0fe5{\ntop:18.1%;\nleft:69.4%;\n}\n<\/style>\n<div  class='av-hotspot-image-container av-nebk52-b196d95d29f8c96ecfe0395146ecf4b3 av-hotspot-numbered av-mobile-fallback-active  av-non-fullwidth-hotspot-image'  itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class='av-hotspot-container'><div class='av-hotspot-container-inner-cell'><div class='av-hotspot-container-inner-wrap'><div class='av-image-hotspot av-m54z1i-10a73cac6c8ab784e43e801efc3ec4aa av-image-hotspot-1 ' data-avia-tooltip-position='bottom' data-avia-tooltip-alignment='centered' data-avia-tooltip-class='av-tt-default-width av-tt-pos-below av-tt-align-centered  av-mobile-fallback-active  main_color av-tt-hotspot' data-avia-tooltip='&lt;p&gt;F2 on the&lt;strong&gt; major third&lt;\/strong&gt;, 10th harmonic of the fundamental tone D.&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>1<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-k5adra-ac588acb2dcfeb98460ee8dd0fc93de3 av-image-hotspot-2 ' data-avia-tooltip-position='bottom' data-avia-tooltip-alignment='centered' data-avia-tooltip-class='av-tt-default-width av-tt-pos-below av-tt-align-centered  av-mobile-fallback-active  main_color av-tt-hotspot' data-avia-tooltip='&lt;p&gt;F2 on the &lt;strong&gt;major second&lt;\/strong&gt;, 9th harmonic of the fundamental tone D.&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>2<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-imu2rq-3969c0f097b729c7c7bd1ae1054b0fe5 av-image-hotspot-3 ' data-avia-tooltip-position='bottom' data-avia-tooltip-alignment='centered' data-avia-tooltip-class='av-tt-default-width av-tt-pos-below av-tt-align-centered  av-mobile-fallback-active  main_color av-tt-hotspot' data-avia-tooltip='&lt;p&gt;F2 auf der &lt;strong&gt;gro\u00dfen Terz&lt;\/strong&gt;, 10. Teilton des Grundtons &lt;em&gt;d&lt;\/em&gt;.&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>3<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><img decoding=\"async\" class='wp-image-7336 avia-img-lazy-loading-not-7336 avia_image' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/oa-2014.06.13-05a-3xAmen-fry-d-845x321.jpg\" alt='' title='Amen with 3 different F2 on the second syllable'  height=\"321\" width=\"845\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/oa-2014.06.13-05a-3xAmen-fry-d-845x321.jpg 845w, https:\/\/www.oberton.org\/wp-content\/uploads\/oa-2014.06.13-05a-3xAmen-fry-d-710x270.jpg 710w\" sizes=\"(max-width: 845px) 100vw, 845px\" \/><\/div><\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-1 '><div class=\"av-hotspot-fallback-tooltip-count\">1<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><p>\nF2 on the<strong> major third<\/strong>, 10th harmonic of the fundamental tone D.<\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-2 '><div class=\"av-hotspot-fallback-tooltip-count\">2<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><p>\nF2 on the <strong>major second<\/strong>, 9th harmonic of the fundamental tone D.<\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-3 '><div class=\"av-hotspot-fallback-tooltip-count\">3<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><p>\nF2 auf der <strong>gro\u00dfen Terz<\/strong>, 10. Teilton des Grundtons <em>d<\/em>.<\/p>\n<\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-hsjr86-7b42fd523b8a84fac9d26f5c3d41db15 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p><em>The figure shows the formants recorded with vocal fry, i.e. voiceless. The partials of the fundamental d are drawn as lines. On the right you can see the position of the third &#8220;men&#8221; in the F1\/F2 diagram.<\/em><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-24870-1\" preload=\"metadata\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/oa-2014.06.13-05-3xAmen-fry-d.wav?_=1\" \/><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/oa-2014.06.13-05-3xAmen-fry-d.wav\">https:\/\/www.oberton.org\/wp-content\/uploads\/oa-2014.06.13-05-3xAmen-fry-d.wav<\/a><\/audio>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-gf74w6-0a8570799d479500e06615a4dc5bc8a1 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p>In vocal-fry technique the 2nd formants are clearly audible as pitches. In the sung version, however, listeners without overtone training describe the difference rather as a slight brightening of the vowel. The formants are more difficult to hear with the harmonic as a sound source. Overtone-trained ears, on the other hand, clearly hear the partials and distinguish the vowel qualities just as differentiated as they distinguish the tones D, E and F#.<\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-efy6xi-7e82778dae9ec0c540f810eb0ad051e1 av_one_full first flex_column_div  '     ><section  class='av_textblock_section av-bx3g0m-8036bcfed5c0dfe551b99ce4e4e02d2d '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>Minor Key Sounds Better Without 10th Harmonic<\/h2>\n<p>In a minor chord, on the other hand, the 10th harmonic in bass must be avoided, as otherwise the alto will not be able to keep the minor third. Minor key sounds wrong with the 10th harmonic in bass, even if all notes are sung correctly.<\/p>\n<p>Special effects can be created when the 9th harmonic note (green ninth) is sung in the bass as a kind of suspended note, which relaxes into the 8th harmonic (octave) to an almost medieval calm chord.<\/p>\n<p>All these effects are not consciously perceived by the listener, but they have a great influence on the impact of the music. However, in order to control these effects, the choir singers have to learn consciously to perceive the partial tone amplifications.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-b5r07a-c7ed3bdd90e172d7796ac79122ababdc av_one_full first flex_column_div  '     ><section  class='av_textblock_section av-9h0shy-809c8ea8668dd04e7fbb50f2647e4934 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>Easy to Learn<\/h2>\n<p>In practice, the whole thing quickly becomes clearer. You not only have to hear it, but also feel it physically in order to understand how choral phonetics works. It is much easier in practice than it sounds at first. The body does a lot of things on its own, because the resonance harmony is immediately expressed in relaxed singing as the ear has an archaic memory for the overtone intervals and thus for pure intonation. Both just have to be brought together first.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-7vvluu-3a49df35f1dd9f06bcc13f3b1923af21 av_one_full first flex_column_div  '     ><p><div  class='av-special-heading av-5liaba-98b5ee0b940f6522534a6e07c1ba8bf3 av-special-heading-h2 blockquote modern-quote'><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Literature <span class='special_amp'>&amp;<\/span> Sources<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-3uejwm-16ddf05cd43c7a2b8d041bb7668677fc '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" >\n<div id='zp-InTextBib-zotpress-21ee10c475c866f4a75e3f91b0f5d477' class='zp-Zotpress zp-Zotpress-InTextBib wp-block-group zp-Post-24870'>\r\n\t\t<span class=\"ZP_ITEM_KEY ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_STYLE ZP_ATTR\">chicago-author-date-de<\/span>\r\n\t\t<span class=\"ZP_SORTBY ZP_ATTR\">default<\/span>\r\n\t\t<span class=\"ZP_ORDER ZP_ATTR\">asc<\/span>\r\n\t\t<span class=\"ZP_TITLE ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_SHOWIMAGE ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_SHOWTAGS ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_DOWNLOADABLE ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_NOTES ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_ABSTRACT ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_CITEABLE ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_TARGET ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_URLWRAP ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_FORCENUM ZP_ATTR\">0<\/span>\r\n\t\t<span class=\"ZP_HIGHLIGHT ZP_ATTR\"><\/span>\r\n\t\t<span class=\"ZP_POSTID ZP_ATTR\">24870<\/span><div class='zp-List loading'>\n<div class=\"zp-SEO-Content\"><\/div><!-- .zp-zp-SEO-Content -->\n<\/div><!-- .zp-List --><\/div><!--.zp-Zotpress-->\n\n\n<\/div><\/section><br \/>\n<section  class='av_textblock_section 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id=\"zp-ID-24870-935790-H5V99X9X\" data-zp-author-date='Anuja-Kamat-0000-00-00' data-zp-date-author='0000-00-00-Anuja-Kamat' data-zp-date='0000-00-00' data-zp-year='0000' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Anuja Kamat. <i>Ep 4: Harmonium, Concept of Scale and Shruti<\/i>. Accessed March 6, 2019. <a class='zp-ItemURL' href='https:\/\/www.youtube.com\/watch?v=OeTvUQzeg7g&index=2&list=RDEGc3TgahKqc'>https:\/\/www.youtube.com\/watch?v=OeTvUQzeg7g&index=2&list=RDEGc3TgahKqc<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-4YJZRNBL\" data-zp-author-date='Barnaby-Martin-0000-00-00' data-zp-date-author='0000-00-00-Barnaby-Martin' data-zp-date='0000-00-00' data-zp-year='0000' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Barnaby Martin. <i>How Jacob Collier Uses Microtonality, Pitch and Temperament<\/i>. Accessed June 16, 2019. <a class='zp-ItemURL' href='https:\/\/www.youtube.com\/watch?v=NHC2XNGerW4'>https:\/\/www.youtube.com\/watch?v=NHC2XNGerW4<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-MS4J23CC\" data-zp-author-date='Barnaby-Martin-0000-00-00' data-zp-date-author='0000-00-00-Barnaby-Martin' data-zp-date='0000-00-00' data-zp-year='0000' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Barnaby Martin. <i>Arrival - How Language Is Encoded in the Score<\/i>. Accessed June 16, 2019. <a class='zp-ItemURL' href='https:\/\/www.youtube.com\/watch?v=Sb8fj01USlo'>https:\/\/www.youtube.com\/watch?v=Sb8fj01USlo<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-TT8C3KI8\" data-zp-author-date='Barnaby-Martin-2019-11-06' data-zp-date-author='2019-11-06-Barnaby-Martin' data-zp-date='2019-11-06' data-zp-year='2019' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Barnaby Martin. <i>How Jacob Collier Uses Microtonality, Pitch and Temperament<\/i>, 2019. <a class='zp-ItemURL' href='https:\/\/www.youtube.com\/watch?v=NHC2XNGerW4'>https:\/\/www.youtube.com\/watch?v=NHC2XNGerW4<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-IHLRBK4H\" data-zp-author-date='Barnaby-Martin-2019-07-16' data-zp-date-author='2019-07-16-Barnaby-Martin' data-zp-date='2019-07-16' data-zp-year='2019' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Barnaby Martin. <i>Jacob Collier: Moon River - Harmonic Analysis<\/i>, 2019. <a class='zp-ItemURL' href='https:\/\/www.youtube.com\/watch?v=UTDHylJZMXU'>https:\/\/www.youtube.com\/watch?v=UTDHylJZMXU<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-BQCI45SG\" data-zp-author-date='Cambridge-0000-00-00' data-zp-date-author='0000-00-00-Cambridge' data-zp-date='0000-00-00' data-zp-year='0000' data-zp-itemtype='webpage' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Cambridge, University of. \u201cPythagoras Was Wrong: There Are No Universal Musical Harmonies, Study Finds.\u201d Accessed February 28, 2024. <a class='zp-ItemURL' href='https:\/\/phys.org\/news\/2024-02-pythagoras-wrong-universal-musical-harmonies.html'>https:\/\/phys.org\/news\/2024-02-pythagoras-wrong-universal-musical-harmonies.html<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-SX7HSRYL\" data-zp-author-date='David-Bruce-Composer-2019-12-07' data-zp-date-author='2019-12-07-David-Bruce-Composer' data-zp-date='2019-12-07' data-zp-year='2019' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">David Bruce Composer. <i>How to Modulate to G 1\/2 Sharp (Jacob Collier-Style)<\/i>, 2019. <a class='zp-ItemURL' href='https:\/\/www.youtube.com\/watch?v=Xd54l8gfi7M'>https:\/\/www.youtube.com\/watch?v=Xd54l8gfi7M<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-3S6TSLY2\" data-zp-author-date='dolomuse-0000-00-00' data-zp-date-author='0000-00-00-dolomuse' data-zp-date='0000-00-00' data-zp-year='0000' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">dolomuse. <i>What Is Polychromatic Music? - An Introduction with Comparison of Modern Microtonal Instruments.<\/i> Accessed May 5, 2018. <a class='zp-ItemURL' href='https:\/\/www.youtube.com\/watch?v=ZMRUm_CoW-I'>https:\/\/www.youtube.com\/watch?v=ZMRUm_CoW-I<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-GJN7DCR5\" data-zp-author-date='Geller-1997' data-zp-date-author='1997-Geller' data-zp-date='1997' data-zp-year='1997' data-zp-itemtype='book' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Geller, Doris. <i>Praktische Intonationslehre F\u00fcr Instrumentalisten Und S\u00e4nger: Mit \u00dcbungsteil<\/i>. 4., Aufl. 2009. B\u00e4renreiter Verlag, 1997.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-8NPAP2NW\" data-zp-author-date='Geller-0000-00-00' data-zp-date-author='0000-00-00-Geller' data-zp-date='0000-00-00' data-zp-year='0000' data-zp-itemtype='webpage' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Geller, Doris. \u201cINTON - Das Trainingsprogramm Zum Intonationsh\u00f6ren, von Doris Geller.\u201d Accessed June 10, 2016. <a class='zp-ItemURL' href='http:\/\/home.arcor.de\/a.schneidewind\/Geller\/Inton.html'>http:\/\/home.arcor.de\/a.schneidewind\/Geller\/Inton.html<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-DPBZUQBI\" data-zp-author-date='Geller-1997-01-01' data-zp-date-author='1997-01-01-Geller' data-zp-date='1997-01-01' data-zp-year='1997' data-zp-itemtype='audioRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Geller, Doris. <i>Praktische Intonationslehre mit \u00dcbungsteil f\u00fcr Instrumentalisten und S\u00e4nger<\/i>. Kassel: B\u00e4renreiter Verlag, 1997.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-K2VH8HIS\" data-zp-author-date='Gratzki-1993-01-01' data-zp-date-author='1993-01-01-Gratzki' data-zp-date='1993-01-01' data-zp-year='1993' data-zp-itemtype='book' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Gratzki, Bettina. <i>Die reine Intonation im Chorgesang<\/i>. Vol. 70. Orpheus-Schriftenreihe zu Grundfragen der Musik. Hrsg. Martin Vogel. 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C. Harrison, Harin Lee, Fotini Deligiannaki, and Nori Jacoby. \u201cTimbral Effects on Consonance Disentangle Psychoacoustic Mechanisms and Suggest Perceptual Origins for Musical Scales.\u201d <i>Nature Communications<\/i> 15, no. 1 (February 19, 2024): 1482. <a class='zp-DOIURL' href='https:\/\/doi.org\/10.1038\/s41467-024-45812-z'>https:\/\/doi.org\/10.1038\/s41467-024-45812-z<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-YRY7UJYH\" data-zp-author-date='McDermott-et-al.-2010' data-zp-date-author='2010-McDermott-et-al.' data-zp-date='2010' data-zp-year='2010' data-zp-itemtype='journalArticle' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">McDermott, Josh H., Michael V. Keebler, Christophe Micheyl, and Andrew J. 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London: Springer, 2005.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-JCNSLYUX\" data-zp-author-date='Smith-Kellis-2010' data-zp-date-author='2010-Smith-Kellis' data-zp-date='2010' data-zp-year='2010' data-zp-itemtype='thesis' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Smith Kellis, Richard. \u201cTRACKING CONSONANCE. THE INTERSECTION OF MUSIC THEORY AND MUSIC PSYCHOLOGY.\u201d Master of Arts in Interdisciplinary Studies, California State University, 2010. <a class='zp-ItemURL' href='https:\/\/lookaside.fbsbx.com\/file\/Consonance-the%20intersection%20of%20music%20%26%20psychology.pdf?token=AWwvF77DAYXaWpFWQHAVazC-PUkRvo2GHun-hKr9tMbUzmSDhZEzS8ZrIZD5yO7YUkpSHo7b1Je7mhedZqxyvQH-d42O0W1h18U7At2qooc-Y4R8k8mSbkCMKDjlfR7Eq_JZ3yDCU6iwgm4oIS3_6FWtHEUfd3k9XoD093a_m5dddhv4B8sVqZGa2_o2n_ZONfXzcbUPFneVJWZTSofXrZ4aUcpuR1uNnKrXS2lfxJ77at4pOXgoSo4RoKbcNbuIpyBdywVSJYjVUykSyA2v01N6kSpKPaNgrrrdOqMVIpr_WS2cVv33fLx96K6prZc4WKFYxjLltVkzLkL2kO-hTXLeiIqo0CgeJCvUqTp0_Lumimr0zmY7OdSNG9M4vz6SGQ-FGmVSFeLv0tbVn6bzvZdf3BxEz6HcA8bTpmVwohuKK1RZlM4BvPr0xMkSnBiw-mNN667RucdX68gnhqUODM_42fmYjx8TuAhCGuMaxJAHHESOhDSAsQpuRC6IAaK7dlg'>https:\/\/lookaside.fbsbx.com\/file\/Consonance-the%20intersection%20of%20music%20%26%20psychology.pdf?token=AWwvF77DAYXaWpFWQHAVazC-PUkRvo2GHun-hKr9tMbUzmSDhZEzS8ZrIZD5yO7YUkpSHo7b1Je7mhedZqxyvQH-d42O0W1h18U7At2qooc-Y4R8k8mSbkCMKDjlfR7Eq_JZ3yDCU6iwgm4oIS3_6FWtHEUfd3k9XoD093a_m5dddhv4B8sVqZGa2_o2n_ZONfXzcbUPFneVJWZTSofXrZ4aUcpuR1uNnKrXS2lfxJ77at4pOXgoSo4RoKbcNbuIpyBdywVSJYjVUykSyA2v01N6kSpKPaNgrrrdOqMVIpr_WS2cVv33fLx96K6prZc4WKFYxjLltVkzLkL2kO-hTXLeiIqo0CgeJCvUqTp0_Lumimr0zmY7OdSNG9M4vz6SGQ-FGmVSFeLv0tbVn6bzvZdf3BxEz6HcA8bTpmVwohuKK1RZlM4BvPr0xMkSnBiw-mNN667RucdX68gnhqUODM_42fmYjx8TuAhCGuMaxJAHHESOhDSAsQpuRC6IAaK7dlg<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-IMW6M3ZE\" data-zp-author-date='Synchratron-2016-08-30' data-zp-date-author='2016-08-30-Synchratron' data-zp-date='2016-08-30' data-zp-year='2016' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Synchratron. <i>Inharmonic Strings and the Hyperpiano<\/i>, 2016. <a class='zp-ItemURL' href='https:\/\/www.youtube.com\/watch?v=xcSod-sj2CE'>https:\/\/www.youtube.com\/watch?v=xcSod-sj2CE<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-V85X5KSN\" data-zp-author-date='synthhead-0000-00-00' data-zp-date-author='0000-00-00-synthhead' data-zp-date='0000-00-00' data-zp-year='0000' data-zp-itemtype='blogPost' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">synthhead. \u201cModern Microtonal Electronic Instruments.\u201d <i>Synthtopia<\/i> (blog). Accessed November 5, 2015. <a class='zp-ItemURL' href='http:\/\/www.synthtopia.com\/content\/2015\/11\/01\/modern-microtonal-electronic-instruments\/'>http:\/\/www.synthtopia.com\/content\/2015\/11\/01\/modern-microtonal-electronic-instruments\/<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-ZTVAVIDX\" data-zp-author-date='Tolgahan-\u00c7o\u011fulu-0000-00-00' data-zp-date-author='0000-00-00-Tolgahan-\u00c7o\u011fulu' data-zp-date='0000-00-00' data-zp-year='0000' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Tolgahan \u00c7o\u011fulu. <i>Microtonal Bach Experiment - Which Tuning Sounds Better?<\/i> Accessed May 5, 2018. <a class='zp-ItemURL' href='https:\/\/www.youtube.com\/watch?v=kyQaSFgnVI8'>https:\/\/www.youtube.com\/watch?v=kyQaSFgnVI8<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-WGHWVE96\" data-zp-author-date='Trainor-1996' data-zp-date-author='1996-Trainor' data-zp-date='1996' data-zp-year='1996' data-zp-itemtype='journalArticle' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Trainor, Laurel J. \u201cEffects of Harmonics on Relative Pitch Discrimination in a Musical Context.\u201d <i>Perception & Psychophysics<\/i> 58, no. 5 (1996): 704\u201312. <a class='zp-DOIURL' href='https:\/\/doi.org\/10.3758\/BF03213102'>https:\/\/doi.org\/10.3758\/BF03213102<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-3BMEKJJV\" data-zp-author-date='Violinmasterclass-2012-03-14' data-zp-date-author='2012-03-14-Violinmasterclass' data-zp-date='2012-03-14' data-zp-year='2012' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\"><i>Intonation: Which System to Use When<\/i>, 2012. <a class='zp-ItemURL' href='http:\/\/www.youtube.com\/watch?v=QaYOwIIvgHg&feature=youtube_gdata_player'>http:\/\/www.youtube.com\/watch?v=QaYOwIIvgHg&feature=youtube_gdata_player<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-24870-935790-6EK3PGXA\" data-zp-author-date='Violinmasterclass-2012-03-14' data-zp-date-author='2012-03-14-Violinmasterclass' data-zp-date='2012-03-14' data-zp-year='2012' data-zp-itemtype='videoRecording' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\"><i>Intonation: Expressive Intonation<\/i>, 2012. <a class='zp-ItemURL' href='http:\/\/www.youtube.com\/watch?v=u1FInAUOhP0&feature=youtube_gdata_player'>http:\/\/www.youtube.com\/watch?v=u1FInAUOhP0&feature=youtube_gdata_player<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/div><\/section><\/p><\/div>\n<div  class='av-buildercomment av-2rxism-b730ddb5fb6df38750c2a23abd58d0b7  av-blog-meta-html-info-disabled'><\/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%2Fdo-you-hear-a-melody-or-syllables%2F&text=Do%20You%20Hear%20a%20Melody%20or%20Syllables%3F%20Saus%E2%80%99%20Hearing%20Test.\" title=\"Bei X teilen\" aria-label=\"Bei X teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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