{"id":7771,"date":"2013-08-03T17:06:15","date_gmt":"2013-08-03T15:06:15","guid":{"rendered":"http:\/\/www.oberton.org\/was-ist-obertongesang\/"},"modified":"2019-11-19T20:37:46","modified_gmt":"2019-11-19T19:37:46","slug":"what-is-overtone-singing","status":"publish","type":"page","link":"https:\/\/www.oberton.org\/en\/overtone-singing\/what-is-overtone-singing\/","title":{"rendered":"What is Overtone Singing?"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-av_heading-c20e08f98cddaa66eac6efb76a27fe59\">\n#top .av-special-heading.av-av_heading-c20e08f98cddaa66eac6efb76a27fe59{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-av_heading-c20e08f98cddaa66eac6efb76a27fe59 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-av_heading-c20e08f98cddaa66eac6efb76a27fe59 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-av_heading-c20e08f98cddaa66eac6efb76a27fe59 av-special-heading-h1 blockquote modern-quote  avia-builder-el-0  el_before_av_three_fifth  avia-builder-el-first '><h1 class='av-special-heading-tag '  itemprop=\"headline\"  >What is Overtone Singing?<\/h1><div class='av-subheading av-subheading_below'><p>The art of singing two notes at the same time<\/p>\n<\/div><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n<div  class='flex_column av-9vs9bl-92fccbd3b79fa24325bbeb5a657b871a av_three_fifth  avia-builder-el-1  el_after_av_heading  el_before_av_two_fifth  first flex_column_div  '     ><section  class='av_textblock_section av-2pad0a9-02802e043508eda6d2b96bb7dcaa3747 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><blockquote>\n<p><strong>Overtone singing is a vocal technique that creates the auditory impression of polyphony<\/strong> by filtering individual overtones from the sound spectrum of the voice by controlling the resonances in the vocal tract in such a way that they are perceived as separate tones. [<a href=\"#literature_sources\">(Saus 2004)<\/a>]<\/p>\n<\/blockquote>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-2ndpasx-d4a51e45ea90bec2aaec054ea9256663 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><audio class=\"wp-audio-shortcode\" id=\"audio-7771-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/02-pianoo1.mp3?_=1\" \/><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/02-pianoo1.mp3\">https:\/\/www.oberton.org\/wp-content\/uploads\/02-pianoo1.mp3<\/a><\/audio>\n<p>Sound sample:\u00a0<a title=\"Harmoniversum \u2013 Michael Reimann &amp; Wolfgang Saus\" href=\"https:\/\/www.oberton.org\/portfolio-item\/wolfgang-saus-harmoniversum\/\">Pianoo &#8211; Harmoniversum<\/a><\/p>\n<\/div><\/section><\/p><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2m78vnl-eb3768969a8a5ceb3dc31e2bccf54439\">\n.flex_column.av-2m78vnl-eb3768969a8a5ceb3dc31e2bccf54439{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-2m78vnl-eb3768969a8a5ceb3dc31e2bccf54439 av_two_fifth  avia-builder-el-4  el_after_av_three_fifth  el_before_av_heading  flex_column_div av-zero-column-padding  '     ><section  class='av_textblock_section av-96aowx-f860a7245c20767479cc716d7107c98d '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" >\n<\/div><\/section><\/div><\/p>\n<div  class='av-special-heading av-av_heading-17dc40fddf8f629b96ee6ab31d16d11e av-special-heading-h2 blockquote modern-quote  avia-builder-el-6  el_after_av_two_fifth  el_before_av_textblock '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Short Version<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n<section  class='av_textblock_section av-2gcg57l-acb527c6814bb61046509f24aaec42d5 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>It is amazing when a single person sings two notes at the same time. A second flute-like tone suddenly sounds about two octaves above the normal voice, which seems to float crystal clear and hardly locatable in space. The sound is reminiscent of a glass harp, exotic and yet strangely familiar. It touches in a peculiar way, has a calming effect and is almost physically palpable.<\/p>\n<\/div><\/section>\n<div  class='flex_column av-2fgab41-5666475d5ff0b8d8832ccccbdef3b59d av_one_half  avia-builder-el-8  el_after_av_textblock  el_before_av_one_half  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-2csvt4x-6ec4c0a4998b5095630487b0d9ecfcc5 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>Can anyone do that?<\/strong><br \/>\nYes, anyone who can speak can learn overtone singing.<\/p>\n<p><a title=\"Workshops &amp; Konzerte\" href=\"https:\/\/www.oberton.org\/en\/how-to-throat-sing\/\">\u2192 Learning overtone singing<\/a><\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-2b74z69-d87e7376cd670e5e97bec07e4f053523 av_one_half  avia-builder-el-10  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-29ruwu9-68d7d1685b760e7ddc38917ad80d1c56 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>How does overtone singing sound?<\/strong><\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-7771-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Brahms-Guten-Abend-Saus.mp3?_=2\" \/><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/Brahms-Guten-Abend-Saus.mp3\">https:\/\/www.oberton.org\/wp-content\/uploads\/Brahms-Guten-Abend-Saus.mp3<\/a><\/audio>\n<p>Brahms&#8217; Lullaby in bass and soprano at the same time.<\/p>\n<p><a title=\"Kategorie Archiv: Musiker\" href=\"https:\/\/www.oberton.org\/en\/category\/worth-listening\/\">\u2192more sound samples<br \/>\n<\/a><\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-285cuxt-b6fcdea0b46ff2a6301a0e1ce6e64eb6 av_one_half  avia-builder-el-12  el_after_av_one_half  el_before_av_one_half  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-7wgj1t-5459aebbf2674c3e27720e822124159c '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>Where does overtone singing come from?<\/strong><br \/>\nThe styles were created independently of each other. Western overtone singing comes from Europe and not from Mongolia, as is often claimed. Altai styles of the Turkic peoples are related to each other. Less well known are overtone songs from Africa, Papua New Guinea and Tibet. Here is a list of styles:<\/p>\n<p><a title=\"Stile\" href=\"https:\/\/www.oberton.org\/en\/overtone-singing\/stile\/\">\u2192 Styles worldwide<\/a><\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-7os1ch-862031e0cc17a41cd844b47bd455571a av_one_half  avia-builder-el-14  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-23a9pcx-82a96349916c198cb76af08473cdf916 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>How does overtone singing work?<\/strong><br \/>\nThe resonance in the mouth and throat are combined with tongue, lip and jaw movements in such a way that individual overtones become so loud that they are perceived as individual tones.<\/p>\n<p>\u2192 see below<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-222s7c1-a06051e15693386edc8868d1cf2e26a8 av_one_full  avia-builder-el-16  el_after_av_one_half  el_before_av_one_half  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-av_heading-4375bdb73daca9b3616695a3910c6a41 av-special-heading-h2 blockquote modern-quote  avia-builder-el-17  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >The Trick: Double Resonance<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-1yh6cnl-4b4c5aac0db2f8957663a41923d54ff0 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>The secret of overtone singing is double resonance &#8211; the merging of two resonance frequencies that originate in the pharynx and oral cavity (vocal tract) [<a href=\"#literature_sources\">(Kob, Neuschaefer-Rube, and Saus 2001), (Matern et al. 2001), <\/a><\/p>\n<p><a href=\"#literature_sources\">(Neuschaefer-Rube et al. 2002), (Saus 2009)<\/a>]. This does not occur in the German language. That&#8217;s why overtone singing is not so easy to discover by oneself, although in principle it consists only of exotic &#8220;vowels&#8221;.<\/p>\n<p>The lowest three resonance frequencies in the vocal tract can be changed in pitch arbitrarily. This is done with mouth-, lip-, tongue- and larynx movements. Vowels are created by the first two resonance frequencies, a special pitch for each vowel.<\/p>\n<p>In overtone singing, the third resonance frequency is added and lowered to the pitch of the second resonance frequency by creating an additional cavity under the tongue.<\/p>\n<\/div><\/section><\/p><\/div><div  class='flex_column av-1x23sdt-14b9f044e3ff0916559b7735b210a7c5 av_one_half  avia-builder-el-19  el_after_av_one_full  el_before_av_one_half  first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-1uesi5d-04751fd3c25cd18295177977fd317497\">\n.avia-image-container.av-1uesi5d-04751fd3c25cd18295177977fd317497 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-1uesi5d-04751fd3c25cd18295177977fd317497 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-1uesi5d-04751fd3c25cd18295177977fd317497 av-styling- avia-align-  avia-builder-el-20  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\"><img decoding=\"async\" width=\"413\" height=\"637\" fetchpriority=\"high\" class='wp-image-7003 avia-img-lazy-loading-not-7003 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/090509-Prag-formant-3.to2_bw.jpg\" alt='' title='Doppelresonator'   itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/090509-Prag-formant-3.to2_bw.jpg 413w, https:\/\/www.oberton.org\/wp-content\/uploads\/090509-Prag-formant-3.to2_bw-195x300.jpg 195w, https:\/\/www.oberton.org\/wp-content\/uploads\/090509-Prag-formant-3.to2_bw-194x300.jpg 194w\" sizes=\"(max-width: 413px) 100vw, 413px\" \/><\/div><\/div><\/div><\/div><\/p>\n<div  class='flex_column av-6jhu9d-dd67781856b8b620de5e369fde7dd394 av_one_half  avia-builder-el-21  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-1rq4zsx-6cf9b762fe0846119b3c938938da6318 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>The resulting double resonator is then precisely matched to an overtone [<a href=\"#literature_sources\">(Saus 2009)<\/a>]. The effect: the overtone becomes much louder than its neighbours, which gives the impression that you hear two tones, namely the voice and the amplified overtone. If you move the double resonator from overtone to overtone, you get the impression of an overtone melody.<\/p>\n<p><strong>Overtone singers thus produce the melody with the form of the vocal tract<\/strong>, not with the vocal chords. The second resonance frequency determines the pitch. The third resonance frequency is used for amplification.<\/p>\n<p>Actually, you still hear all the partials, not two. But the timbre created by the isolated overtone is so unfamiliar that the brain searches for a comparison with what it knows and thus communicates a flute-like sound and a singing voice to the consciousness. Overtone singing is thus a kind of acoustic illusion.<\/p>\n<p>In fact, everyone hears the overtone singing a little differently. Some people experience more or less vowel character and associate the sound of the Australian didgeridoos. Others hear the sound of the flute so clearly and separately that they cannot believe it comes from the voice. These different perceptions are related to the individual sound processing (cf. <a href=\"https:\/\/www.oberton.org\/wie-obertoene-im-gehirn-wirken\/\">How overtones work in the brain<\/a>).<\/p>\n<\/div><\/section><\/div><div  class='flex_column av-1qayscx-6ce033948eaf07295953f5d582a69125 av_one_half  avia-builder-el-23  el_after_av_one_half  el_before_av_one_half  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-1nphqdt-d0c6afdaf75cbb45d8290c81b0d06a3b '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>This double resonator can be varied over more than one octave. Most overtone singers don&#8217;t know anything about it. They are still good at overtone singing because they have intuitively learned over a long time to control their resonances. Those who have knowledge of the connections, however, learn overtone singing much faster and can optimize overtone singing in a targeted way. If you are looking for an overtone singing teacher, make sure he has this background knowledge. This saves time and money.<\/p>\n<\/div><\/section><\/div><div  class='flex_column av-1m8mvap-736fd28bf582918c840ce84b20aeac53 av_one_half  avia-builder-el-25  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-1lcj6cx-627ae9b9ae0459a433fd5570061eea88\">\n.avia-image-container.av-1lcj6cx-627ae9b9ae0459a433fd5570061eea88 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-1lcj6cx-627ae9b9ae0459a433fd5570061eea88 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-1lcj6cx-627ae9b9ae0459a433fd5570061eea88 av-styling- avia-align-  avia-builder-el-26  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\"><img decoding=\"async\" class='wp-image-7002 avia-img-lazy-loading-not-7002 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/screenshot-formants2_3-u-i-u_rgb-297x300.png\" alt='' title='screenshot-formants2_3-u-i-u_rgb'   itemprop=\"thumbnailUrl\"  \/><\/div><\/div><\/div><\/div><\/p>\n<div  class='flex_column av-1k3k3bl-dc95331db587a43986adc1239b43f0ad av_one_full  avia-builder-el-27  el_after_av_one_half  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-1igrjc1-c4c0cbf319f180ed6d31e4dcc63299dd 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\"  >Voice as a Double Instrument<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-1fwdx41-62a6b722d7c3c30d7661af30312c5ab8 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>Our voice consists of two instruments:<\/p>\n<ol>\n<li>The primary sound (singing tone) is formed in the larynx and consists of a chord of partial tones (sine tones) and a noise portion. It generates the keynote pitch.<\/li>\n<li>The resonances in the vocal tract (mouth, throat, nose) modulate the volume of the partials. They produce the timbre. During overtone singing, they produce the melody from overtones.<\/li>\n<\/ol>\n<p style=\"text-align: center;\"><strong>Voice = primary sound + resonance<\/strong><\/p>\n<p>This corresponds to the classic source filter model of the voice. The new thing, however, is that in overtone singing the <strong>resonances are used as a second melody instrument<\/strong>. The fact that resonances can be tuned to a precise pitch is generally unknown and is not taught in classical singing education.<\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-1dzixa9-c1d59eb336159a1ad89bf37941c71ce2 av_one_full  avia-builder-el-30  el_after_av_one_full  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-1cwygpt-693ab08b07843ac84761e4706c56b7ed av-special-heading-h2 meta-heading  avia-builder-el-31  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >First Instrument: Harmonics<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-1ahylsx-15433a8a8281a741b909661b522ad9cf '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong><a href=\"https:\/\/www.oberton.org\/wp-content\/uploads\/teiltonakkord-c-130.8hz-mit-spktr-trsp.png\"><img decoding=\"async\" class=\"alignleft\" src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/teiltonakkord-c-130.8hz-mit-spktr-trsp-300x128.png\" alt=\"Teiltonakkord von c mit Spektrum und Spektrogramm\" width=\"300\" height=\"128\" \/><\/a><\/strong><\/p>\n<p><strong>Overtones are a natural part of the voice<\/strong>. They are always present in the voice. A normal vocal sound consists of a bundle of partials (<a href=\"https:\/\/www.oberton.org\/en\/overtone-singing\/die-obertonreihe\/#glossar\">on the difference between partial and overtone, see here<\/a>).<\/p>\n<p>This bundle forms a special harmonic partial-tone chord, which we normally hear as a single note with a timbre. The timbre is created by the volume distribution of the partials. The volume distribution in the picture results from the vowel \u00e6.<\/p>\n<p>If an overtone becomes much louder than its neighbours, it will suddenly be perceived as a separate tone. This is exactly what happens with overtone singing. Extreme &#8220;vowels&#8221; are used, which are not found in the language. Overtone singing is in a way an acoustic illusion, because in fact only one note is sung, but because of an extreme &#8220;pronunciation&#8221; it sounds like two notes. But one could also say that it is an acoustic disillusionment: the tone consists of many tones, and now we hear at least two of them, the keynote and the amplified overtone.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-19oz0cx-8d38a5ae70db5e4fe9f93cf950849830 av_one_full  avia-builder-el-33  el_after_av_one_full  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-17equ01-7a154471f9ebda971cfafd9254545382 av-special-heading-h2 meta-heading  avia-builder-el-34  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Second Instrument: Resonance Frequencies<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-16v0j0h-20c1833155528f4e4b01526d95ad8207 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>The mouth and throat space from the larynx to the lips is also called vocal tract. Like any cavity, the vocal tract has natural resonance frequencies. These resonances are pitches that change with the shape of the mouth. The resonances change the volume distribution of the partials in the voice. This creates vowels. The fact that the resonances can be used as a melody instrument, however, is completely unknown as a concept.<\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-13v2ur5-35e84a1995aa565ae94c1462ad973140 av_one_full  avia-builder-el-36  el_after_av_one_full  el_before_av_one_third  first flex_column_div  column-top-margin'     ><div  class='av-special-heading av-3u5wa9-a9809dd9a187b87df00b26b8fc48fc76 av-special-heading-h2 blockquote modern-quote  avia-builder-el-37  avia-builder-el-no-sibling '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Pharynx Tongue <span class='special_amp'>&amp;<\/span> Second Formant<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-114gee9-d04be27ed58981f716d2dd9b8285bc91 av_one_third  avia-builder-el-38  el_after_av_one_full  el_before_av_two_third  first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-zyg9o1-95257ddc9801b88af94c8cd3ccdfca90\">\n.avia-image-container.av-zyg9o1-95257ddc9801b88af94c8cd3ccdfca90 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-zyg9o1-95257ddc9801b88af94c8cd3ccdfca90 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-zyg9o1-95257ddc9801b88af94c8cd3ccdfca90 av-styling- avia-align-  avia-builder-el-39  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\"><img decoding=\"async\" width=\"826\" height=\"1030\" class='wp-image-7000 avia-img-lazy-loading-not-7000 avia_image ' src=\"https:\/\/www.oberton.org\/wp-content\/uploads\/kopfschnitt-l-bezeichnet-trsp-826x1030.png\" alt='' title='Schnittbild vom Kopf mit Resonanzr\u00e4umen'   itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.oberton.org\/wp-content\/uploads\/kopfschnitt-l-bezeichnet-trsp-826x1030.png 826w, https:\/\/www.oberton.org\/wp-content\/uploads\/kopfschnitt-l-bezeichnet-trsp-241x300.png 241w, https:\/\/www.oberton.org\/wp-content\/uploads\/kopfschnitt-l-bezeichnet-trsp-768x958.png 768w, https:\/\/www.oberton.org\/wp-content\/uploads\/kopfschnitt-l-bezeichnet-trsp-600x748.png 600w, https:\/\/www.oberton.org\/wp-content\/uploads\/kopfschnitt-l-bezeichnet-trsp-565x705.png 565w, https:\/\/www.oberton.org\/wp-content\/uploads\/kopfschnitt-l-bezeichnet-trsp-450x561.png 450w, https:\/\/www.oberton.org\/wp-content\/uploads\/kopfschnitt-l-bezeichnet-trsp-240x300.png 240w, https:\/\/www.oberton.org\/wp-content\/uploads\/kopfschnitt-l-bezeichnet-trsp.png 960w\" sizes=\"(max-width: 826px) 100vw, 826px\" \/><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-yj1pap-a08b439429c4cdabb8366f38fcb7c2c5 av_two_third  avia-builder-el-40  el_after_av_one_third  el_before_av_one_full  flex_column_div av-zero-column-padding  column-top-margin'     ><section  class='av_textblock_section av-3a8qdt-a2426a43de1e79608d940460f4893441 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>The pharynx tongue controls the 2nd resonance frequency (2nd formant), the space under the tongue controls the 3rd resonance frequency. The aim of overtone singing is to place the two resonances exactly on top of each other and to meet an overtone at the same time.<\/p>\n<p>During examinations at the University Hospital Aachen we found that the pharyngeal tongue movement together with the epiglottis mainly controls the overtones <span class=\"zp-InText-zp-ID--935790-VPHCZZQWP--wp7771 zp-InText-Citation loading\" rel=\"{ 'pages': 'np', 'items': '{935790:VPHCZZQWP}', 'format': '(%a%, %d%, %p%)', 'brackets': '', 'etal': '', 'separator': '', 'and': '' }\"><\/span>.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-uj2g2p-1008cb41760d9a8ec04b1681d5e02fa1 av_one_full  avia-builder-el-42  el_after_av_two_third  el_before_av_one_full  first flex_column_div  column-top-margin'     ><p><section  class='av_textblock_section av-2u7yht-65f8d4fb9afccdb5a032f4a35b27300e '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><span  class='av_font_icon av-av_font_icon-dea7ac18cc4e7a7d6ed31ca8d60b7bff avia_animate_when_visible av-icon-style- avia-icon-pos-left avia-iconfont avia-font-entypo-fontello av-no-color avia-icon-animate'><span class='av-icon-char' data-av_icon='\ue855' data-av_iconfont='entypo-fontello' aria-hidden=\"true\" ><\/span><\/span>\n<p><strong>Try it:<\/strong> Let your tongue hang out of your mouth and speak the English we with a creaking voice (vocal fry) and motionless lips, preferably in slow motion. And then the English you, which is the backwards movement. The vowel transition i-u and u-i in these words is now produced exclusively by the pharyngeal tongue because of the inactive front tongue. It&#8217;s important that you take time for all the intermediate vocals.<\/p>\n<p>Usa a sound analysis program like Overtone Analyzer to record a spectrogram of the produced sound. You will see in the spectrogram that only the second resonance frequency moves.<\/p>\n<\/div><\/section><br \/>\n<div  class='av-special-heading av-p78d8x-1026407a3096eafd643a8f35b5cf6df0 av-special-heading-h2 blockquote modern-quote  avia-builder-el-45  el_after_av_textblock  el_before_av_textblock '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Mouth Floor <span class='special_amp'>&amp;<\/span> Third Formant<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-oh081t-b090a5d1de05a4decf621f7055698889 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>We don&#8217;t move the 3rd resonance frequency in German vowels. Therefore, the associated tongue movements are unfamiliar. If you keep your tongue in the L-position, a cavity will form under your tongue. If you then lower the floor of your mouth and pull back the muscles at the side next to the frenulum of your tongue, you will hear a sound similar to the American &#8220;r&#8221; <a href=\"https:\/\/en.wikipedia.org\/wiki\/Alveolar_and_postalveolar_approximants\" target=\"_blank\" rel=\"noopener noreferrer\">\u00a0[\u202f\u0279\u202f]<\/a>. Imagine a small hot potato under your tongue. The larger the cavity, the lower the 3rd resonance frequency.<\/p>\n<p>With a little practice the 3rd resonance frequency can be lowered exactly to the frequency of the 2nd. That&#8217;s the basic technique of overtone singing.<\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-mh8ui9-888be5c12ee19844d91c7607d100ff94 av_one_full  avia-builder-el-47  el_after_av_one_full  el_before_av_comments_list  first flex_column_div  column-top-margin'     ><p><div  class='av-special-heading av-l1upkh-9ad3cae7ec08607bf2cdd3f02f25033d av-special-heading-h2 blockquote modern-quote  avia-builder-el-48  el_before_av_heading  avia-builder-el-first '><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<div  class='av-special-heading av-jfpawx-7812b7a10d7fdb2c7f6a4d037b903077 av-special-heading-h3 meta-heading  avia-builder-el-49  el_after_av_heading  el_before_av_textblock '><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >Itemisations<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-gpds2p-9999ba93e412c31da390326fc0fe47b9 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 2em; text-indent: -2em;\">\n\n<div id='zp-InTextBib-zotpress-0fd287e5fdc07317101f7be541d67c08' class='zp-Zotpress zp-Zotpress-InTextBib wp-block-group zp-Post-7771'>\r\n\t\t<span class=\"ZP_ITEM_KEY ZP_ATTR\">{935790:VPHCZZQWP}<\/span>\r\n\t\t<span class=\"ZP_STYLE ZP_ATTR\">chicago-fullnote-bibliography<\/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\">7771<\/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>\n<\/div><\/section><br \/>\n<div  class='av-special-heading av-gg5k75-513b88ba45267f9a621f52a0afb346fa av-special-heading-h3 meta-heading  avia-builder-el-51  el_after_av_textblock  el_before_av_textblock '><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >Books<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-dzlz41-29aeed9cd54363d7861985e3bd3800fc '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 2em; text-indent: -2em;\">\n<div id=\"zotpress-6847eecb204c7c94d4fc842e46ff00c5\" class=\"zp-Zotpress zp-Zotpress-Bib wp-block-group\">\n\n\t\t<span class=\"ZP_API_USER_ID ZP_ATTR\">935790<\/span>\n\t\t<span class=\"ZP_ITEM_KEY ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_COLLECTION_ID ZP_ATTR\">ZUVTPAN5<\/span>\n\t\t<span class=\"ZP_TAG_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_AUTHOR ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_YEAR ZP_ATTR\"><\/span>\n        <span class=\"ZP_ITEMTYPE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_INCLUSIVE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_STYLE ZP_ATTR\">chicago-fullnote-bibliography<\/span>\n\t\t<span class=\"ZP_LIMIT ZP_ATTR\">50<\/span>\n\t\t<span class=\"ZP_SORTBY 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id=\"zp-ID-7771-935790-C2QDBSA3\" data-zp-author-date='Akademie-f.-gesprochenes-Wort-2002-07' data-zp-date-author='2002-07-Akademie-f.-gesprochenes-Wort' data-zp-date='2002-07' data-zp-year='2002' 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\">Akademie f. gesprochenes Wort. <i>Stimmkulturen: 3. Stuttgarter Stimmtage 2000<\/i>. Edited by Hellmut K Geissner. 1st ed. St. Ingbert: R\u00f6hrig Universit\u00e4tsverlag, 2002.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-N67VEADT\" data-zp-author-date='Arjopa-1999' data-zp-date-author='1999-Arjopa' data-zp-date='1999' data-zp-year='1999' 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\">Arjopa. <i>Choomii - das mongolische Obertonsingen [Medienkombination]\u202f: Anleitung zum Selberlernen<\/i>. 1st ed. 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Healing Arts Home, 2002.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-RGVTZQN4\" data-zp-author-date='Goldman-1994' data-zp-date-author='1994-Goldman' data-zp-date='1994' data-zp-year='1994' 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\">Goldman, Jonathan. <i>Heilende Kl\u00e4nge\u202f: Die Macht Der Obert\u00f6ne<\/i>. M\u00fcnchen: Droemer Knaur, 1994.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-AAJ48U6F\" data-zp-author-date='Goldman-2008-08-28' data-zp-date-author='2008-08-28-Goldman' data-zp-date='2008-08-28' data-zp-year='2008' 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\">Goldman, Jonathan. <i>Klangheilung. Die Sch\u00f6pferkraft Des Obertongesangs. Mit CD Zum Erlernen Heilender Kl\u00e4nge!<\/i> Erw. Ausg. mit CD. AMRA Verlag, 2008.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-UTFRCXS7\" data-zp-author-date='Grawunder-2005' data-zp-date-author='2005-Grawunder' data-zp-date='2005' data-zp-year='2005' 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\">Grawunder, Sven. \u201cOn the Physiology of Voice Production in South-Siberian Throat Singing \u2013 Analysis of Acoustic and Electrophysiological Evidences.\u201d Unpublished PhD thesis, Martin Luther University Halle-Wittenberg, Halle., 2005.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-F7WS8EXT\" data-zp-author-date='Grawunder-1999' data-zp-date-author='1999-Grawunder' data-zp-date='1999' data-zp-year='1999' 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\">Grawunder, Sven. \u201cObertongesang versus Kehlgesang - Die Erforschung Eines Besonderen Stimmgebrauchs.\u201d Unpublished Diploma, Martin-Luther-Universit\u00e4t Halle-Wittenberg, Halle\/S., 1999. <a class='zp-ItemURL' href='http:\/\/email.eva.mpg.de\/~grawunde\/KehlgesangversObertongesang.pdf'>http:\/\/email.eva.mpg.de\/~grawunde\/KehlgesangversObertongesang.pdf<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-38GCJSW7\" data-zp-author-date='Grawunder-2009' data-zp-date-author='2009-Grawunder' data-zp-date='2009' data-zp-year='2009' 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\">Grawunder, Sven. <i>On the Physiology of Voice Production in South-Siberian Throat Singing: Analysis of Acoustic and Electrophysiological Evidences<\/i>. Berlin: Frank & Timme, 2009.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-IG6GR42R\" data-zp-author-date='Groeneveld-2007-05' data-zp-date-author='2007-05-Groeneveld' data-zp-date='2007-05' data-zp-year='2007' 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\">Groeneveld, B.D. <i>Stem En Boventonen \/ Druk 1: Oefeningen, Improvisaties, Klankmeditaties<\/i>. 1. Panta Rhei, Uitgeverij, 2007.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-T8TN9KPR\" data-zp-author-date='Hinds-2019' data-zp-date-author='2019-Hinds' data-zp-date='2019' data-zp-year='2019' 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\">Hinds, Stuart. <i>Composing Music for Overtone Singing.Pdf<\/i>. self-published, 2019. <a class='zp-ItemURL' href='https:\/\/www.stuarthinds.com\/'>https:\/\/www.stuarthinds.com\/<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-3TBTA3XP\" data-zp-author-date='Hinds-2020' data-zp-date-author='2020-Hinds' data-zp-date='2020' data-zp-year='2020' 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\">Hinds, Stuart. <i>Group Singing with Overtones<\/i>. 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Battweiler: Traumzeit-Verlag, 2012.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-29FQTI59\" data-zp-author-date='Levin-and-Suzukei-2006-03' data-zp-date-author='2006-03-Levin-and-Suzukei' data-zp-date='2006-03' data-zp-year='2006' 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\">Levin, Theodore Craig, and Valentina Suzukei. <i>Where Rivers and Mountains Sing: Sound, Music, and Nomadism in Tuva and Beyond with CD (Audio) and DVD: Sound, Music and Nomadism in Tuva and Beyond<\/i>. Har\/Com\/Dv. Indiana University Press, 2006.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-79QRK6ZE\" data-zp-author-date='Mecke-et-al.-2016-09-01' data-zp-date-author='2016-09-01-Mecke-et-al.' data-zp-date='2016-09-01' data-zp-year='2016' 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\">Mecke, Ann-Christine, Martin Pfleiderer, Bernhard Richter, and Thomas Seedorf, eds. <i>Lexikon der Gesangsstimme: Geschichte \u2013 Wissenschaftliche Grundlagen \u2013 Gesangstechniken \u2013 Interpreten<\/i>. 1st ed. Instrumenten-Lexika. 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Univ of Washington Pr, 2001.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-E595IQKS\" data-zp-author-date='Rachele-1989' data-zp-date-author='1989-Rachele' data-zp-date='1989' data-zp-year='1989' 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\">Rachele, Rollin. <i>Boventoonzang: een zelfstudiecursus in het leren hzingen van boventoonen<\/i>. 1st ed. Katwijk aan Zee: Servire Uitgevers B. V., 1989.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-ZQSIUPAT\" data-zp-author-date='Rachele-1989' data-zp-date-author='1989-Rachele' data-zp-date='1989' data-zp-year='1989' 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\">Rachele, Rollin. <i>Overtone Singing Study Guide<\/i>. 1st ed. Cryptic Voices, 1989.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-G9RCU5PB\" data-zp-author-date='Reimann-1993' data-zp-date-author='1993-Reimann' data-zp-date='1993' 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\">Reimann, Michael. <i>Unendlicher Klang. Obert\u00f6ne in Stimme und Instrumentalmusik.<\/i> 1st ed. Norderstedt: Kolibri, 1993.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-689GN7MD\" data-zp-author-date='Reimann-2022-08-27' data-zp-date-author='2022-08-27-Reimann' data-zp-date='2022-08-27' data-zp-year='2022' 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\">Reimann, Michael. <i>Unendlicher Klang: Das Mysterium der Obert\u00f6ne - ebook<\/i>. 3rd ed. ACRON MUSIC EDITION, 2022.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-33UQ3N35\" data-zp-author-date='Reimann-2022-09-04' data-zp-date-author='2022-09-04-Reimann' data-zp-date='2022-09-04' data-zp-year='2022' 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\">Reimann, Michael. <i>Unendlicher Klang: Das Mysterium der Obert\u00f6ne in Stimme und Instrument<\/i>. 3rd ed. Michael Reimann, ACRON MUSIC, 2022.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-UT68KFBZ\" data-zp-author-date='Saus-2004' data-zp-date-author='2004-Saus' data-zp-date='2004' data-zp-year='2004' data-zp-itemtype='bookSection' 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\">Saus, Wolfgang. \u201cWas ist Obertongesang - Eine Definition.\u201d In <i>Oberton Singen. Mit Lern-CD: Das Geheimnis einer magischen Stimmkunst - Obertongesang erlernen mit dem Drei-Stufen-Selbstlernkurs<\/i>, 1st ed., 58. Battweiler: Traumzeit-Verlag, 2004.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-2XI6KRNA\" data-zp-author-date='Saus-2006' data-zp-date-author='2006-Saus' data-zp-date='2006' data-zp-year='2006' 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\">Saus, Wolfgang. <i>Oberton Singen. Mit Lern-CD<\/i>. 2nd ed. Battweiler: Traumzeit-Verlag, 2006.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-V45V8Q7X\" data-zp-author-date='Saus-2016' data-zp-date-author='2016-Saus' data-zp-date='2016' data-zp-year='2016' data-zp-itemtype='encyclopediaArticle' 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\">Saus, Wolfgang. \u201cObertongesang.\u201d In <i>Lexikon der Gesangsstimme<\/i>, edited by Ann-Christine Mecke, Martin Pfleiderer, Bernhard Richter, and Thomas Seedorf, ca. 800. Instrumenten-Lexika 5. Laaber: Laaber, 2016.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-8H9KRH2H\" data-zp-author-date='Saus-2010-11-09' data-zp-date-author='2010-11-09-Saus' data-zp-date='2010-11-09' data-zp-year='2010' data-zp-itemtype='bookSection' 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\">Saus, Wolfgang. \u201cObertongesang.\u201d In <i>Peter Hess - Klangmethoden Im Kontext von Forschung Und Wissenschaft<\/i>, edited by Peter Hess and Christina M. Koller, 182\u201389. 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S.l.: Terra Nova Press, 2023.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-KWT47FTR\" data-zp-author-date='van-Tongeren-2004-02-01' data-zp-date-author='2004-02-01-van-Tongeren' data-zp-date='2004-02-01' data-zp-year='2004' 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\">Tongeren, Mark C. van. <i>Overtone Singing: Physics and Metaphysics of Harmonics in East and West (Hardcover)<\/i>. 2Rev Ed. Amsterdam: Eburon B V, 2004.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-CVMX3MS3\" data-zp-author-date='van-Tongeren-2004-02-01' data-zp-date-author='2004-02-01-van-Tongeren' data-zp-date='2004-02-01' data-zp-year='2004' 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\">Tongeren, Mark C. van. <i>Overtone Singing: Physics and Metaphysics of Harmonics in East and West<\/i>. 2Rev Ed. Amsterdam: Eburon B V, 2004.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-KTNW3W8K\" data-zp-author-date='Vetter-1996-10-04' data-zp-date-author='1996-10-04-Vetter' data-zp-date='1996-10-04' data-zp-year='1996' 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\">Vetter, Michael. <i>Om-Eine Obertonschule<\/i>. Audio CD. Spectrum (Note 1), 1996. Amazon.com.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-JDRJKJ8F\" data-zp-author-date='Voigt-Zimmermann-et-al.-2016' data-zp-date-author='2016-Voigt-Zimmermann-et-al.' data-zp-date='2016' data-zp-year='2016' 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\">Voigt-Zimmermann, Susanne, Stephanie Kurtenbach, Gabriele Finkbeiner, Anke Bergt, and Wanda Mainka, eds. <i>Stimmst\u00f6rungen \u2013 ein Fokus der Klinischen Sprechwissenschaft: Aktuelle Beitr\u00e4ge aus Wissenschaft, Forschung und Praxis<\/i>. Berlin: Frank & Timme, 2016. <a class='zp-DOIURL' href='https:\/\/doi.org\/10.26530\/20.500.12657\/42799'>https:\/\/doi.org\/10.26530\/20.500.12657\/42799<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-DDC3TDVT\" data-zp-author-date='Wikipedia-2011' data-zp-date-author='2011-Wikipedia' data-zp-date='2011' data-zp-year='2011' 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\">Wikipedia. \u201cBenutzer:Oberton\/B\u00fccher\/Intervalle \u2013 Wikipedia,\u201d 2011. http:\/\/de.wikipedia.org\/wiki\/Benutzer:Wolfgang_Saus\/B\u00fccher\/Intervalle.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-G54AJ8EA\" data-zp-author-date='Wikipedia-2011' data-zp-date-author='2011-Wikipedia' data-zp-date='2011' data-zp-year='2011' 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\">Wikipedia. \u201cBenutzer:Oberton\/B\u00fccher\/Stimme \u2013 Wikipedia,\u201d 2011. http:\/\/de.wikipedia.org\/wiki\/Benutzer:Wolfgang_Saus\/B\u00fccher\/Stimme.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-3FNXH7KU\" data-zp-author-date='Wikipedia-2011' data-zp-date-author='2011-Wikipedia' data-zp-date='2011' data-zp-year='2011' 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\">Wikipedia. \u201cBenutzer:Oberton\/B\u00fccher\/Obert\u00f6ne \u2013 Wikipedia,\u201d 2011. http:\/\/de.wikipedia.org\/wiki\/Benutzer:Wolfgang_Saus\/B\u00fccher\/Obert\u00f6ne.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-VN2J9S9S\" data-zp-author-date='Wikipedia-2011' data-zp-date-author='2011-Wikipedia' data-zp-date='2011' data-zp-year='2011' 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\">Wikipedia. \u201cBenutzer:Oberton\/B\u00fccher\/H\u00f6ren \u2013 Wikipedia,\u201d 2011. http:\/\/de.wikipedia.org\/wiki\/Benutzer:Wolfgang_Saus\/B\u00fccher\/H\u00f6ren.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-CERWEDFD\" data-zp-author-date='Wikipedia-2011' data-zp-date-author='2011-Wikipedia' data-zp-date='2011' data-zp-year='2011' 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\">Wikipedia. \u201cBenutzer:Oberton\/B\u00fccher\/Formanten \u2013 Wikipedia,\u201d 2011. http:\/\/de.wikipedia.org\/wiki\/Benutzer:Wolfgang_Saus\/B\u00fccher\/Formanten.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-SUZP3EUZ\" data-zp-author-date='Wolff-1987' data-zp-date-author='1987-Wolff' data-zp-date='1987' data-zp-year='1987' 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\">Wolff, Stephanie. <i>Obert\u00f6ne. Versinken in Die Welt Des Klanges. Meditation Und Therapie Durch Neue Dimensionen Der Musik. Mit Einer Praktischen Einf\u00fchrung in Die Technik Des Obertonsingens.<\/i> Freiburg: Bauer, 1987.<\/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>\n<\/div><\/section><br \/>\n<div  class='av-special-heading av-ccqmtd-fd5b0c318f01af6d28d9bff3cf1981ec av-special-heading-h3 meta-heading  avia-builder-el-53  el_after_av_textblock  el_before_av_textblock '><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >Specialist Articles<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-ayefm9-82c0fd5b77f3cd81bff1ed51653cbe9b '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 2em; text-indent: -2em;\">\n<div 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Edgerton. \u201cThe Throat Singers of Tuva.\u201d <i>Scientific American<\/i> 281, no. 3 (1999): 80\u201387. <a class='zp-DOIURL' href='https:\/\/doi.org\/10.1038\/scientificamerican0999-80'>https:\/\/doi.org\/10.1038\/scientificamerican0999-80<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-UFU8N9N7\" data-zp-author-date='Liesowska-and-Lambie-0000-00-00' data-zp-date-author='0000-00-00-Liesowska-and-Lambie' 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\">Liesowska, Anne, and Derek Lambie. \u201cSecrets of Throat Singing Revealed by Scientific Research into the Unusual Sounds.\u201d Accessed February 7, 2017. <a class='zp-ItemURL' href='http:\/\/siberiantimes.com\/science\/others\/news\/0070-secrets-of-throat-singing-revealed-by-scientific-research-into-the-unusual-sounds\/'>http:\/\/siberiantimes.com\/science\/others\/news\/0070-secrets-of-throat-singing-revealed-by-scientific-research-into-the-unusual-sounds\/<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-J6UIAY9M\" data-zp-author-date='L\u00fcbben-0000-00-00' data-zp-date-author='0000-00-00-L\u00fcbben' 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\">L\u00fcbben, Barbara. \u201cObertonspektrum von Frauen - Wo Liegt Der Wohlf\u00fchlbereich?\u201d Accessed October 29, 2017. <a class='zp-ItemURL' href='http:\/\/polyphona.de\/komponieren.html'>http:\/\/polyphona.de\/komponieren.html<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-ZHKI9KR6\" data-zp-author-date='Mantovani-2015-03-11' data-zp-date-author='2015-03-11-Mantovani' data-zp-date='2015-03-11' data-zp-year='2015' 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\">Mantovani, Walter. \u201cIl Canto difonico oggi.\u201d <i>Armonici.it<\/i> (blog), March 11, 2015. <a class='zp-ItemURL' href='http:\/\/blog.armonici.it\/il-canto-difonico-oggi\/'>http:\/\/blog.armonici.it\/il-canto-difonico-oggi\/<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-REMGEKAK\" data-zp-author-date='Matern-et-al.-2001' data-zp-date-author='2001-Matern-et-al.' data-zp-date='2001' data-zp-year='2001' data-zp-itemtype='conferencePaper' 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\">Matern, Gabriele, Christiane Neuschaefer-Rube, Wolfgang Saus, and Malte Kob. \u201cAnsatzrohrgestaltung Beim Obertonsingen.\u201d In <i>Aktuelle Phoniatrisch-P\u00e4daudiologische Aspekte 2000<\/i>, edited by M Gross, 8:16\u201318, 2001.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-VPHCZQWP\" data-zp-author-date='Matern-et-al.-2000' data-zp-date-author='2000-Matern-et-al.' data-zp-date='2000' data-zp-year='2000' 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\">Matern, Gabriele, Christiane Neuschaefer-Rube, Wolfgang Saus, and Malte Kob. <i>Ansatzrohrgestaltung beim Obertonsingen. 17. Wiss. Jahrestagung Deutsche Ges. f\u00fcr Phoniatrie und P\u00e4daudiologie, T\u00fcbingen (2000)<\/i>. DVD. Aachen: RWTH, Uniklinik, 2000.<\/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>\n<\/div><\/section><br \/>\n<div  class='av-special-heading av-9g74pd-b2ba7c6b205c5d8978c9e97439b55792 av-special-heading-h3 meta-heading  avia-builder-el-55  el_after_av_textblock  el_before_av_textblock '><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >Websites<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-6wxdo1-1d8744f813a391db0ab1922a5aa70024 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 2em; text-indent: -2em;\">\n<div id=\"zotpress-f2b0aa36f7b13c21e6fe140b3e6bffa6\" class=\"zp-Zotpress 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id=\"zp-ID-7771-935790-QKNPMHEI\" data-zp-author-date='Albi-0000-00-00' data-zp-date-author='0000-00-00-Albi' 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\">Albi. \u201cFace Music - Switzerland - Geschichte Reiternomaden, in Deutsch.\u201d Accessed January 26, 2010. <a class='zp-ItemURL' href='http:\/\/face-music.ch\/nomads\/horsemen_de.html'>http:\/\/face-music.ch\/nomads\/horsemen_de.html<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-AV2ES3KA\" data-zp-author-date='Birkicht-0000-00-00' data-zp-date-author='0000-00-00-Birkicht' 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\">Birkicht, Matthias. \u201cDas kleine Obertonbrevier.\u201d Accessed January 20, 2013. <a class='zp-ItemURL' href='http:\/\/www.oberton.info\/obertonbrevier01.htm'>http:\/\/www.oberton.info\/obertonbrevier01.htm<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-CVWG2SBW\" data-zp-author-date='Glenfield-2016-10-30' data-zp-date-author='2016-10-30-Glenfield' data-zp-date='2016-10-30' data-zp-year='2016' 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\">Glenfield, Alexander. \u201cOvertone Singing: The Music of Sound: Overtone Singing Is Actionless Action.\u201d <i>Overtone Singing<\/i> (blog), October 30, 2016. <a class='zp-ItemURL' 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href='https:\/\/alexanderglenfield.blogspot.com\/2016\/02\/using-improving-overtone-singing-and.html'>https:\/\/alexanderglenfield.blogspot.com\/2016\/02\/using-improving-overtone-singing-and.html<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-P5LZBGA2\" data-zp-author-date='Glenfield-2014-07-27' data-zp-date-author='2014-07-27-Glenfield' data-zp-date='2014-07-27' data-zp-year='2014' 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\">Glenfield, Alexander. \u201cOvertone Singing: The Music of Sound: THE CREATION EQUATION: OVERTONE SINGING AS HUMOR.\u201d <i>Overtone Singing<\/i> (blog), July 27, 2014. <a class='zp-ItemURL' href='https:\/\/alexanderglenfield.blogspot.com\/2014\/07\/overtone-singing-and-tutorial-some-of.html'>https:\/\/alexanderglenfield.blogspot.com\/2014\/07\/overtone-singing-and-tutorial-some-of.html<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-UFTXT6PW\" data-zp-author-date='Gro\u00dfer-0000-00-00' data-zp-date-author='0000-00-00-Gro\u00dfer' 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\">Gro\u00dfer, Miroslav. \u201cEurop\u00e4ischer Obertongesang - Unterricht Und Workshops in Berlin.\u201d Accessed January 20, 2013. <a class='zp-ItemURL' href='http:\/\/www.stimmlabor.de\/obertongesang\/'>http:\/\/www.stimmlabor.de\/obertongesang\/<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-VDFQRQ8X\" data-zp-author-date='Grover-0000-00-00' data-zp-date-author='0000-00-00-Grover' 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\">Grover, Brian. \u201cGrover\u2019s Khoomei Critique Page.\u201d Accessed January 20, 2013. <a class='zp-ItemURL' href='http:\/\/www.busker-kibbutznik.org\/khoomei\/'>http:\/\/www.busker-kibbutznik.org\/khoomei\/<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-JG44XBJ7\" data-zp-author-date='Hefele-2014' data-zp-date-author='2014-Hefele' data-zp-date='2014' data-zp-year='2014' 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\">Hefele, Anna-Maria. <i>Obert\u00f6ne in Der Chorarbeit\u202f: Neue Methoden Der Fein Differenzierten Arbeit an Klangfarben Zur Verbesserung Der Intonation Und Klanglichen Flexibilit\u00e4t in Ch\u00f6ren Und Vokalensembles \/ Anna-Maria Hefele<\/i>, 2014.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-ET5GLJ7F\" data-zp-author-date='Hefele-2018' data-zp-date-author='2018-Hefele' data-zp-date='2018' data-zp-year='2018' 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\">Hefele, Anna-Maria. <i>\u00dcber Die Rolle Der Obert\u00f6ne Anhand Des Resonanzbegriffs in Der Gesangsp\u00e4dagogik \/ Anna-Maria Hefele<\/i>. Salzburg, 2018.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-KNFGAG8M\" data-zp-author-date='Hefele-2014' data-zp-date-author='2014-Hefele' data-zp-date='2014' data-zp-year='2014' 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\">Hefele, Anna-Maria. <i>Westlicher Obertongesang Und Zentralasiatischer Kehlgesang\u202f: Zentralasiatische Kehlgesangstechniken Im Vergleich Zum Westlichen Obertongesang Und Deren Kulturhistorischen Bedeutung \/ Anna-Maria Hefele<\/i>, 2014.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-C27V4MKC\" data-zp-author-date='Hykes-0000-00-00' data-zp-date-author='0000-00-00-Hykes' 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\">Hykes, David. \u201cHarmonicpresence.Org.\u201d Accessed January 20, 2013. <a class='zp-ItemURL' href='http:\/\/www.harmonicpresence.org\/'>http:\/\/www.harmonicpresence.org\/<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-J6UIAY9M\" data-zp-author-date='L\u00fcbben-0000-00-00' data-zp-date-author='0000-00-00-L\u00fcbben' 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\">L\u00fcbben, Barbara. \u201cObertonspektrum von Frauen - Wo Liegt Der Wohlf\u00fchlbereich?\u201d Accessed October 29, 2017. <a class='zp-ItemURL' href='http:\/\/polyphona.de\/komponieren.html'>http:\/\/polyphona.de\/komponieren.html<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-GC6T2FCK\" data-zp-author-date='Salzinger-2010' data-zp-date-author='2010-Salzinger' data-zp-date='2010' data-zp-year='2010' 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\">Salzinger, Florian. <i>Obert\u00f6ne Und Der Obertongesang\u202f: Ein Physikalisches Ph\u00e4nomen \/ Florian Salzinger<\/i>, 2010.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-W6ZME9Q9\" data-zp-author-date='Saus-0000-00-00' data-zp-date-author='0000-00-00-Saus' 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\">Saus, Wolfgang. \u201cOvertone Singing News.\u201d Social network. facebook. Accessed January 20, 2013. <a class='zp-ItemURL' href='https:\/\/www.facebook.com\/overtonesinging'>https:\/\/www.facebook.com\/overtonesinging<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-RF4VEVKP\" data-zp-author-date='Sklar-0000-00-00' data-zp-date-author='0000-00-00-Sklar' 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\">Sklar, Steve. \u201cKhoomei.\u201d Accessed January 20, 2013. <a class='zp-ItemURL' href='http:\/\/www.khoomei.com\/'>http:\/\/www.khoomei.com\/<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-EWJG4RUF\" data-zp-author-date='Sklar-0000-00-00' data-zp-date-author='0000-00-00-Sklar' 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\">Sklar, Steve. \u201cSteve Sklar\u2019s Online Throat-Singing Lessons.\u201d Accessed January 20, 2013. <a class='zp-ItemURL' href='http:\/\/www.khoomei.com\/lessons.htm'>http:\/\/www.khoomei.com\/lessons.htm<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-TQSNTRDK\" data-zp-author-date='Tran-Quang-Hai-0000-00-00' data-zp-date-author='0000-00-00-Tran-Quang-Hai' 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\">Tran Quang Hai. \u201cOvertones | Tran Quang Hai Website.\u201d Accessed January 20, 2013. <a class='zp-ItemURL' href='http:\/\/tranquanghai.info\/c29-overtones.html'>http:\/\/tranquanghai.info\/c29-overtones.html<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-YBCT34Y6\" data-zp-author-date='Villanueva-2022' data-zp-date-author='2022-Villanueva' data-zp-date='2022' data-zp-year='2022' 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\">Villanueva, Juan P. <i>Zum Obertongesang\u202f: Von Mongolischer Volksmusik Bis Stockhausens \u201cStimmung\u201d \/ Juan P. Villanueva<\/i>. Salzburg, 2022.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-6NXETXTS\" data-zp-author-date='Wikipedia-0000-00-00' data-zp-date-author='0000-00-00-Wikipedia' data-zp-date='0000-00-00' data-zp-year='0000' data-zp-itemtype='encyclopediaArticle' 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\">Wikipedia. \u201cObertongesang.\u201d In <i>Wikipedia<\/i>. Accessed January 20, 2013. <a class='zp-ItemURL' href='http:\/\/de.wikipedia.org\/wiki\/Obertongesang'>http:\/\/de.wikipedia.org\/wiki\/Obertongesang<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-H2FSA8N3\" data-zp-author-date='Wikipedia-2013-07-29' data-zp-date-author='2013-07-29-Wikipedia' data-zp-date='2013-07-29' data-zp-year='2013' data-zp-itemtype='encyclopediaArticle' 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\">Wikipedia. \u201cTuvan Throat Singing.\u201d In <i>Wikipedia, the Free Encyclopedia<\/i>, July 29, 2013. <a class='zp-ItemURL' href='http:\/\/en.wikipedia.org\/wiki\/Tuvan_throat_singing'>http:\/\/en.wikipedia.org\/wiki\/Tuvan_throat_singing<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-RV8DF29K\" data-zp-author-date='Wikipedia-2013-08-03' data-zp-date-author='2013-08-03-Wikipedia' data-zp-date='2013-08-03' data-zp-year='2013' data-zp-itemtype='encyclopediaArticle' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; 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padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">\u201cHarmonic Singing: Your Voice Is a Rainbow.\u201d Accessed March 1, 2014. <a class='zp-ItemURL' href='http:\/\/www.squidoo.com\/harmonicsinging'>http:\/\/www.squidoo.com\/harmonicsinging<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-SIFM83K3\" data-zp-author-date='-0000-00-00' data-zp-date-author='0000-00-00-' 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\">\u201cTimelineJS Embed.\u201d Accessed May 1, 2017. <a class='zp-ItemURL' href='https:\/\/cdn.knightlab.com\/libs\/timeline3\/latest\/embed\/index.html?source=1v25ZZZrrXTYmC8RnlMiaaSGo_f5NHkrGgLeJ-GXAEgo&font=Default&lang=en&initial_zoom=2&height=650'>https:\/\/cdn.knightlab.com\/libs\/timeline3\/latest\/embed\/index.html?source=1v25ZZZrrXTYmC8RnlMiaaSGo_f5NHkrGgLeJ-GXAEgo&font=Default&lang=en&initial_zoom=2&height=650<\/a>.<\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\t\t\t\t<div id=\"zp-ID-7771-935790-M5C7DR2E\" data-zp-author-date='-0000-00-00' data-zp-date-author='0000-00-00-' 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\">Futurism. \u201cOvertone Singing: The Science Behind Singing Multiple Notes At Once (VIDEO).\u201d Accessed October 30, 2022. <a class='zp-ItemURL' href='https:\/\/futurism.com\/overtone-singing-science-behind-singing-multiple-notes-video'>https:\/\/futurism.com\/overtone-singing-science-behind-singing-multiple-notes-video<\/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>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-5burm9-625477dbd1c0ff9ce331e05b8c24ceb5 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 2em; text-indent: -2em;\">\n<p>The first version of this article was published in 2000, the first WordPressverion on 8\/3\/2013.<\/p>\n<\/div>\n<\/div><\/section><\/p><\/div>\n<div  class='av-buildercomment av-ejg8h-aff16d059598bcebcc2060510b5312e2  av-blog-meta-html-info-disabled'><\/div>\n<div  class='av-special-heading av-av_heading-149602cba2bc6a14cc9b83a68712532d av-special-heading-h2  avia-builder-el-59  el_after_av_comments_list  avia-builder-el-last '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >Tell a Friend<\/h2><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%2Fwhat-is-overtone-singing%2F&text=What%20is%20Overtone%20Singing%3F\" title=\"Bei X teilen\" aria-label=\"Bei X teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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You divide two resonance spaces in the oral cavity to extremely amplify one overtone. Anyone who can speak can therefore also learn overtone singing. Start with this 3-minute listening training.<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":7788,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7771","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>What is Overtone Singing? &#8211; I love overtone singing - Wolfgang Saus<\/title>\n<meta name=\"description\" content=\"Overtone singing is produced with the tongue. You divide two resonance spaces in the oral cavity to extremely amplify one overtone. Anyone who can speak can therefore also learn overtone singing. Start with this 3-minute listening training.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.oberton.org\/en\/overtone-singing\/what-is-overtone-singing\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What is Overtone Singing? &#8211; I love overtone singing - Wolfgang Saus\" \/>\n<meta property=\"og:description\" content=\"Overtone singing is produced with the tongue. You divide two resonance spaces in the oral cavity to extremely amplify one overtone. Anyone who can speak can therefore also learn overtone singing. 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