Untertongesang

Strohbass & Kehlgesang

Definition Untertongesang

Untertongesang bezeichnet Gesangstechniken, die Tonhöhen unterhalb der Modalstimme erzeugen. Sie erweitern den Stimmambitus um eine Oktave oder mehr nach unten.

Es gibt zwei grundlegend verschiedene Gesangstechniken für Untertongesang:

  • Strohbass: Schwingungsmodus der Stimmbänder wird verändert. Mit dieser Technik kann eine Untertonreihe gesungen werden.
  • Kehlgesang: (Kargyraa) Taschenfalten oder Aryepiglottische Falten schwingen zusammen mit den Stimmbändern.
Strohbass (Vocal Fry) vs. Kargyraa - 2 Subharmonic Singing Techniques

Strohbass vs. Kehlgesang, Vergleich beider Unterton-Gesangstechniken mittels Videoendoskopie der Stimme von Wolfgang Saus. Video: Dr. med. Andreas Seimer,  Phoniatrie Marienhospital Stuttgart, während der Stuttgarter Stimmtage 2006.

Strohbass

Sanfte Untertöne

Definition Strohbass

Strohbass (vocal fry, Pulsregister) ist eine Gesangstechnik, die durch Modulation des Schwingungsmodus der Stimmbänder Untertöne (Subharmonische) eine Oktave oder mehr unter der Modalstimme erzeugt.

Modulation der Stimmbandschwingung

Es handelt sich um eine Schwingungsmodulation der Stimmbänder. Strohbasstechnik wurde eingehend von Leonardo Fuks in seiner Dissertation untersucht . Er nennt den Strohbass „periodic pulse register“. Man erzielt diesen relativ leisen Klang, wenn die Stimme entspannt und anfängt zu knattern, was bei Ermüdung der Stimme unabsichtlich auftreten kann. Das gleiche passiert, wenn man beim Jodeln langsam an die Grenze des Umklappens der Modal-Stimme in den Falsettton, also an die Grenze von Vollschwingung zur Randkantenschwingung der Stimmbänder kommt.

Zwei Oktaven tiefer

Die Kunst des Leonardo Fuks

Klanganalyse von Leonardo Fuks' Untertonskala

Dieses einzigartige Klangbeispiel stammt von Leonardo Fuks (mit freundlicher Genehmigung). Er singt bis zur 5. Subharmonischen, erzeugt also einen Ton, der nur ein Fünftel der Frequenz der Grundschwingung seiner Stimmbänder hat.

Im Bild sieht man die Spektralanalyse dieser Aufnahme (Overtone Analyzer). Von links nach rechts sieht man den Grundton, dann die 1. Subharmonische, die 2. Subharmonische usw. bis zur fünten. Wie man sieht, gibt es nicht zu allen wahrgenommenen Tönen auch eine Grundschwingung. Das Gehör braucht zur Wahrnehmung nur einen Ausschnitt aus der Teiltonreihe (Residualton Effekt). Fuks singt die ganze Zeit über immer denselben Grundton h.

Mit Strohbass sprechen

Mode bei Schauspieler(innen)

In der Sprechstimme und im klassischen Gesang ist der Effekt normalerweise unerwünscht. Ich empfinde Strohbass als sehr wohltuend und entspannend für die Stimme. Er funktioniert nur bei völliger Entspannung und eignet sich hervorragend zum schnellen und schonenden Einsingen. Ich habe für mich entdeckt, dass ich den Strohbass in zwei Qualitäten hervorbringe, einer leisen, entspannten und einer lauteren, bei der ich eine Spannung im Kehlkopf spüre. Untersuchungen stehen noch aus, aber ich habe die Vermutung, dass im lauteren Fall die Stellknorpel eine Rolle spielen (inzwischen bestätigt, vgl. das Video „Strohbass vs. Kargyraa“)

Bei manchen amerikanischen Schauspielern ist der Strohbass-Ansatz in der Sprechstimme beliebt:

Vocal fry – aber manche mögen’s offenbar nicht.

The Vocal Fry Epidemic

Strohbass – neuer Trend bei amerikanischen Schauspielerinnen?

Natalie Portman Black Swan Interview

Strohbass singen lernen

Man erzielt diesen relativ leisen Klang, wenn die Stimme entspannt und anfängt zu knattern, was gelegentlich bei Ermüdung der Stimme unabsichtlich auftritt. Das gleiche passiert, wenn man beim Jodeln langsam an die Grenze des Umklappens der Stimme in den Falsettton, also an die Grenze der Vollschwingung zur Randkantenschwingung der Stimmbänder geht. Das Knattern kann kultiviert werden, so dass die Stimme auf den tieferen Ton quasi einrastet. Das ermöglicht dann, eine Partie eine Oktave unter dem Sington zu singen, was im Chorgesang manchmal hilfreich ist.

Literatur & Quellen zu Strohbass

Zitate im Text

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Weitere Literatur

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Saus, W. & Seimer, A. Strohbass vs. Kargyraa Undertone (Subharmonic) Singing. (2006).
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Fuks, L., Hammarberg, B. & Sundberg, J. A self-sustained vocal-ventricular phonation mode: acoustical, aerodynamic and glottographic evidences. KTH TMH-QPSR 3, 49–59 (1998).
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Fuks, L. PhD Thesis in music acoustics. (1998).
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Fuks, L. PhD Thesis in music acoustics: FROM AIR TO MUSIC - Acoustical, Physiological and Perceptual Aspects of Reed Wind Instrument Playing and Vocal-Ventricular Fold Phonation. (KTH, Stockholm, 1998).
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Fuks, L. Leonardo Fuks Homepage. http://www.speech.kth.se/music/publications/leofuks/leosounds.html (1998).
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Švec, J. G., Schutte, H. K. & Miller, D. G. A Subharmonic Vibratory Pattern in Normal Vocal Folds. J Speech Lang Hear Res 39, 135–143 (1996).
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Kommentar von @utliscarletaaron6287.
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Heinrich Christoph Koch (1749-1816). Musikalisches Lexikon (1802).
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Kargyraa – Kehlgesang

Kraftvoll-rauhe Untertongesangstechnik

Definition Kargyraa Kehlgesang

Kehlgesang (Kargyraa) ist eine Gesangstechnik, die einen Tonhöheneindruck eine Oktave unter der Modalstimme erzeugt, indem zusätzlich zu den Stimmbändern die Taschenfalten oder die aryepiglottischen Falten in Schwingung versetzt werden.

Die tuwinische Gesangstechnik Kargyraa ist ein Musterbeispiel des Kehl-Untertongesangs. Kargyraa-analoge Unterton-Techniken gibt es auch in anderen Kulturen. Es gibt bisher keinen einheiltichen Obertbegriff. Leider besteht bei der Bezeichnung Kehlgesang Verwechslungsgefahr: Kehlgesang wird in der Literatur mit vier völlig unterschiedlichen Bedeutungen verwendet:

  1. Kehlgesang = Untertongesang
  2. Kehlgesang = Synonym für Ober- und Untertongesang der Nomaden in Zentralasien als Übersetzung des tuwinischen Wortes Khöömej.
  3. Kehlgesang = kehlig-rauhe Gesangstechniken mit verengtem Kehlkopf (weder Oberton- noch Untertongesang)
  4. Kehlgesang = Obertongesang

Daher verwende ich, um die Technik zu bezeichnen, im Zweifelsfall Unterton-Kehlgesang, Taschenfaltentechnik oder einfach den tuwinischen Begriff Kargyraa.

Untertöne ohne Obertongesang

Yevgeniy Ulgbasev – Khai aus Chakassien

Yevgeniy Ulgbasev from Khaskassia - throat singing

Julia Charkova – Takhpakh aus Chakassien

Julia Charkova Khai epic

Ein Belutschen Knabe mit Untertongesang aus Pakistan

Balochi Kid Throat Singing

Untertöne mit Obertönen

Untertongesang wird in einigen Kulturen mit Obertongesang kombiniert. Die Absenkung des Grundtons durch Untertongesang verschiebt die gesamte Obertonskala nach unten. Dadurch stehen doppelt so viele Obertöne zur Verfügung wie mit der normalen Grundstimme. Frauen können auf diese Weise in der Bass- und Baritonlage singen und identische Obertöne erzeugen, wie Männer.

Zentralasien

In Tuva gibt es die Untertongesangstechnik Kargyraa, die oft mit Obertongesang kombiniert wird. Es gibt Künstler, die ausschließlich das tiefe Register nutzen (vgl. Albert Kuvezin, Yat Kha). Viele (vermutlich die meisten) Untertonkehlgesänge verwenden keinen Obertongesang (s. o.). Kargyraa ähnliche Untertöne gibt es auch in der traditionellen Musik Europas und Afrikas.

Mehr zu Kehl-Obertongesang ->

Afrika

Von den Frauen der Xhosa ist der umngqokolo bekannt, der die Stimmtechnik des Kargyraa mit Obertongesang verbindet. In diesem Fall soger sehr virtuos, weil die Xhosa-Frauen (in einer Bass-/Baritonlage singend!) die Klänge des Mundbogens immitieren und dabei den Grundton ändern und so zwei Melodien zugleich singen (polyphoner Obertongesang). Der Grundton wechselt rhythmisch um eine große Sekunde, während darüber in einer schnelleren Tonfolge eine Obertonmelodie erscheint.

Mehr zu Umngqokolo ->

Tibet

Auch in tibetischen Klöstern gibt es Kehlgesangstile, die Untertöne erzeugen. Es ist mir nicht immer klar, ob die Techniken auf Kargyraa oder auf Strobass beruhen, oder ob vielleicht beide Techniken vorkommen und je nach Sänger verschieden eingesetzt werden. Die mir bekannten Aufnahmen sind in Strohbass gesungen, was man leicht am gelegentlichen Umkippen der Stimme in Normallage erkennt. Die tibetischen Mönche rezitieren meist sehr langsame Texte bzw. Mantren oder Formeln. Oft ergibt sich im Klang eine Dominanz der 10. Harmonischen, weshalb manche Autoren diese Gesänge auch zu den Obertongesängen zählen.

Europa

Bei der paghjella auf Korsika und beim cantu a tenores auf Sardinien gibt es eine rauhe tiefe Stimme, die bassu oder su basciu genannt wird. Sie entspricht technisch dem Kargyraa, wird aber ohne Obertontechniken gesungen. Im klassischen Chorgesang gibt es Kompositionen – z. B. Rachmaninov und Tschaikowsky – die von den Bässen Tiefen bis zu A1 (Kontra A) fordern. Kaum eine deutsche Stimme erreicht diese Tiefe mit Modalstimme (normaler Stimme). Daher wird an solchen Stellen Strohbass gesungen, was nur wenige Experten beherrschen.

Kargyraa

Untertongesang der Turkvölker Zentralasiens

Beim Untertonsingen in der tuvinischen Kargyraa-Technik gibt es mehrere Stile, die bisher nur wenig untersucht wurden. Eine gute Übersicht gibt die Diplomarbeit von Sven Grawunder.

Pseudoglottis beim Kargyraa. Foto Sven Grawunder.

Die aryepiglottischen Falten drücken beim Steppen-Kargyraa an die Epiglottis und erzeugen Untertöne, wenn sie mit der Stimme in Resonanz schwingen.

Beim Steppen-Kargyraa fand Sven Grawunder die gleiche Verengung wie beim Khöömej. Die aryepiglottischen Falten, die diese Verengung bilden, werden beim Singen zusätzlich zu den Stimmbändern in Schwingung versetzt. Es entsteht eine Pseudoglottis, eine zweite Klangquelle. Offenbar erzeugen diese gekoppelten Schwingungen eine Schwinungsperiode mit der halben Frequenz des Singtons und erzeugen so die Obertöne eines Tons, der eine Oktave unter der Singstimme liegt.

Möglicherweise sind hier auch die Taschenfalten unterhalb der Verengung in den Phonationsvorgang einbezogen. Da sie im Bild aber verdeckt sind, kann man das nicht erkennen. Untersuchungen von Tran Quang Hai, mir und anderen zeigen, dass bei Kargyraa-Techniken die Taschenfalten (falsche Stimmlippen) zusammen mit den Stimmbändern ein komplexes Schwingungssystem bilden ohne Einbindung der aryepiglottischen Falten.

Der amerikanische Kehlgesangsexperte Steve Sklar hat 1998 an der University of Wisconsin eine aufschlußreiche Videolaryngoskopie beim Kargyraa machen lassen.

Inside Steve Sklar's Larynx: Kargyraa

Kargyraa lernen

Kargyraa ist nicht ganz ungefährlich zu lernen, da man leicht die Stimmbänder verletzen kann. Man braucht keine tiefe Stimme. Es gibt eine wunderschöne Aufnahme eines 11-Jährigen, der diese Technik singt, auf der CD Tuva von zeitausendeins und die gleiche Aufnahme auf der CD Deep in the Heart of Tuva von ellipsis arts (vgl. CD-Liste tuvinischer Khöömej).

Auch Frauen können damit Bass singen, wie die Sängerinnen der tuvinischen Gruppe Tyva Kyzy und die Kehlsängerinnen der Xhosa eindrucksvoll zeigen. Man singt beim Kargyraa immer eine Oktave höher, als die Stimme klingt. Bei einer langen Lagerfeuernacht zusammen mit der Gruppe Huun-Huur-Tu lernte ich den Ansatz zum Kargyraa aus einem entspannten Räuspern zu entwickeln, indem ich die Vibration tief in der Luftröhre verspürte und den Mund dabei geschlossen hielt.

Steve Sklar hat einen CD-Videolehrgang herausgegeben, den ich empfehle.

Hier ein Video von Jonathan Cope:

Khargyraa basic technique

Literatur & Quellen zu Kargyraa

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Die Untertonreihe

Definition Untertonreihe

Untertöne sind Subharmonische des Grundtons. Ihre Frequenzen sind ganzzahlige Teiler der Grundfrequenz.

Spiegel der Obertonreihe

Die Untertonreihe ist das Spiegelbild der Obertonreihe. Der Grundton ist der höchste Ton. Er ist gleichzeitig der gemeinsame Oberton aller Töne der Reihe. Oder anders ausgedrückt: Die Untertonreihe besteht aus den möglichen Grundtönen, mit denen ein bestimmter Oberton gesungen werden kann.

Untertonreihe von a3

Die Untertonreihe von a3.

Frequenzen der Untertonreihe

Untertonfrequenzen von 1600 Hz.

Beispiel: Frequenzen der Untertonreihe von 1600 Hz. Links die Untertonreihe eines 1600-Hz-Tons, errechnet durch ganzzahlige Teilung: 1600/2, 1600/3, 1600/4 Hz usw. Rechts ist jeder der Untertöne als Grundton gezeigt. Diese Grundtöne enthalten 1600 Hz als Oberton. Die Frequenzen sind linear gezeigt, um die ganzzahlige Teilung deutlich zu machen.

Die Untertonreihe ergibt sich aus dem Grundton durch ganzzahlige Teilung der Frequenz: Die zweite Subharmonische schwingt mit 1/2 Grundtonfrequenz, die dritte mit 1/3, die vierte mit 1/4, die 12. Subharmonische hat 1/12 Frequenz des Grundtons, usw. Die drei Begriffe Grundton, 1. Harmonische und 1. Subharmonische sind Synonyme. Diese Nummerierung der Subharmonischen stellt den unmittelbaren Bezug zur Frequenz her. Die Nummer entspricht den Nennern der Frequenzverhälnisse.

Intervalle der Untertonreihe

Untertonreihe von a3, Obertonreihe von A.

Die Untertonreihe spiegelt die Obertonreihe. Untertonreihe von a3, Obertonreihe von A.

Die Reihe besteht aus den gespiegelten Intervallen der Obertonreihe: den absteigenden Intervallen Oktave, Oktave + Quinte, Doppeloktave, Doppeloktave + große Terz, Doppeloktave + Quinte usw.

Die Untertonreihe anhören

Die Untertonreihe von g3 enthält alle Grundtöne, mit denen g3 als Oberton erzeugt werden könnte. Für Obertongesang sind davon die Grundtöne zwischen G und c2 relevant.

Die Untertonreihe singen

Man kann die Skala der Untertöne theoretisch mit Untertongesangtechnik singen. In der Praxis wird fast nur die 2. Subharmonische, eine Oktave unter dem Sington gesungen. Aber es ist möglich, bis zur 5. Subharmonischen zu singen. Genaugenommen klingen nicht Untertöne des Singtons, sondern es entsteht ein neues, dichteres Obertonspektrum, das den Unterton als „virtuellen Grundton“ (Residualton) enthält.

Komponieren mit der Untertonreihe

Alle Grundtöne, mit denen a3 als Oberton singbar ist.

Alle Töne der Untertonreihe (links) haben a3 als gemeinsamen Oberton. Rechts die Obertonreihen der einzelnen Untertöne.

Die Untertonreihe ist Komponisten auf zweierlei Art nützlich:

  1. Zu einem liegenden Oberton kann eine Grundtonmelodie innerhalb der Untertonreihe gesungen werden.
  2. Die Untertonreihe eines gewünschten Obertons enthält alle Grundtöne, mit denen dieser Oberton gesungen werden kann.

Mehr zum Komponieren mit Obertönen →

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