Overtone singing

Overtone singing, also referred to as overtone chanting, harmonic singing, polyphonic overtone singing, or diphonic singing, constitutes a vocal technique where a performer simultaneously generates two distinct pitches.

From a fundamental vocal pitch, specific harmonic overtones can be selectively amplified by manipulating the dimensions and morphology of the oral and pharyngeal resonant cavities.

Overtone singing is distinct from throat singing, although numerous throat singing methodologies incorporate overtone singing. Overtone singing necessitates precise manipulation of the vocal tract, whereas throat singing primarily engages the voice source.

Asia

Mongolia and Buryatia

The practice of overtone singing is believed to have originated in southwestern Mongolia, specifically within the contemporary Khovd Province and Govi Altai region. This vocal art form is prevalent across the nation, and Mongolia is frequently recognized as the global epicenter of its practice. The predominant style, identified as (Cyrillic: хөөмий), encompasses the following variations:

• Uruulyn, or labial khöömii
• Tagnain, or palatal khöömii
• Khamryn, or nasal khöömii
• Bagalzuuryn, khooloin, denoting glottal or throat khöömii
• Tseejiin khondiin, khevliin, referring to chest cavity or stomach khöömii
• Turlegt, khosmoljin khöömii, which combines khöömii with long song

Mongolian vocal traditions also include numerous other singing styles, such as karkhiraa (meaning "growling") and isgeree.

Tuva

Tuvan overtone singing is a vocal tradition observed in the Republic of Tuva, situated in southern Siberia, Russia.

The Tuvan approach to overtone singing emphasizes the appreciation of intricate sounds characterized by multiple layers and textures. Tuvan practitioners have cultivated a diverse array of rhythmic and melodic styles. The majority are performed with korekteer, which translates to "with chest voice." These styles include:

• Khöömei
• Sygyt
• Kargyraa, which additionally employs a secondary sound source generated by the false vocal folds, termed "false-folds-diplophony"

Additional sub-styles comprise:

• Borbangnadyr
• Chylandyk
• Dumchuktaar
• Ezengileer
• Byrlang, a distinctive vibrato primarily utilized in khöömei and kargyraa styles

Traditionally, these melodies are constructed using the 6th, 8th, 9th, 10th, 12th, 13th, and occasionally the 16th harmonics, which collectively form the major pentatonic scale; consequently, the 7th and 11th harmonics are deliberately omitted.

The most distinctive melody within the Tuvan tradition is "Artii Sayir," predominantly executed in the kargyraa style.

Altai and Khakassia

Neighboring Russian regions to Tuva, specifically the Altai Republic to the west and Khakassia to the northwest, have cultivated forms of throat singing known as kai (Altay: кай, qay) or khai (Khakas: хай, xay). In Altai, this vocal art is primarily employed for epic poetry, often accompanied by a topshur instrument. Altai narrators, referred to as kai-chi, perform in kargyraa, khöömei, and sygyt styles, which bear resemblance to those found in Tuva. Additionally, they possess a distinct style characterized by exceptionally high harmonics, which is related to kargyraa. Variations of kai include:

• Karkyra
• Sybysky
• Homei
• Sygyt

Alexei Kalkin was recognized as the initial prominent kai-chi.

Chukchi Peninsula

The Chukchi people, inhabiting the Chukchi Peninsula in Russia's extreme northeast, also engage in a form of throat singing.

Tibet

Tibetan Buddhist chanting represents a subgenre of throat singing, predominantly performed by monks across Tibet, including Khokhonor (Qinghai) province within the Tibetan Plateau region, as well as Tibetan monks in Nepal, Bhutan, India, and various other Himalayan locales. These chants typically adhere to the lowest possible pitches achievable through throat singing. Numerous ceremonies and prayers within Tibetan Buddhism necessitate throat singing, frequently involving multiple monks chanting concurrently. Diverse Tibetan throat singing styles exist, including Gyuke (Standard Tibetan: རྒྱུད་སྐད་ Wylie: rgyud skad), which employs the lowest vocal pitch; Dzoke (མཛོ་སྐད་ mdzo skad); and Gyer (གྱེར་ gyer).

Uzbekistan and Kazakhstan

Kazakh and Karakalpakstani poet-musicians, referred to as zhirau, incorporate throat singing into their epic poetry recitations, typically accompanied by the dombra. Practitioners of zhirau consider the capacity for throat singing an inherent talent bestowed upon certain Kazakh individuals, rather than a skill that can be acquired through instruction.

In addition to zhirau, Kazakhstan features another throat singing style known as "Kömeimen än aituw (Көмеймен ән айту)," which shares similarities with throat singing practices in the Altai Republic. This form, once thought to have potentially vanished due to Russian conquest, is currently undergoing a revival spearheaded by Kazakh ethno-folk musical groups such as HasSak and Turan Ensemble.

Pakistan, Iran, and Afghanistan

Balochi Nur Sur represents an ancient form of overtone singing that maintains its popularity across regions of Pakistan, Iran, and Afghanistan, particularly within the Sulaiman Mountains.

Kurdistan

Dengbêj, a Kurdish-Yazidi tradition of bardic chanting, frequently integrates overtones into its vocalizations, employing a method distinct from other overtone singing styles. The application of overtones in dengbêj is thoroughly examined in Nick Hobbs's 2020 article, "Dengbêj—Kurdish long song and overtone singing." Primarily a traditional style of Turkish Kurdistan, its practitioners are predominantly Anatolian. While dengbêj performers often engage in Kurdish folk singing, overtone elements are seldom encountered in Kurdish traditional music beyond the dengbêj context.

Europe

Sardinia

In Sardinia, Italy, particularly within the subregion of Barbagia, one of two distinct polyphonic singing traditions incorporates throat singing. This choral style is designated as "singing a tenore," contrasting with the cuncordu style, which does not utilize throat singing. Cantu a Tenore involves four male vocalists, each assigned a specific function: the solo voice is performed by the 'oche or boche (pronounced /oke/ or /boke/, meaning "voice"), while the chorus—comprising the mesu 'oche or mesu boche ("half voice"), contra ("against"), and bassu ("bass")—is arranged in descending pitch order. The term tenore also refers to this choral arrangement. The boche and mesu boche employ a regular vocal technique, whereas the contra and bassu utilize false vocal folds, akin to the Tuvan Khoomei and Kargyraa methods. In 2005, UNESCO recognized the cantu a tenore as an intangible world heritage. Prominent Cantu a Tenore ensembles originate from towns such as Bitti, Orosei, Oniferi, and Neoneli. Typically, each town hosts multiple groups, with names often derived from a specific local landmark or monument combined with their hometown, for instance, Tenore Su Remediu (place) de Orosei (town).

Northern Europe

The Sami people, inhabiting northern Sweden, Norway, Finland, and Russia's Kola Peninsula, practice a vocal genre known as yoik. Although overtone techniques do not constitute a primary characteristic of yoik, they are occasionally employed by its practitioners.

Bashkortostan

The Bashkirs of Bashkortostan, Russia, possess a nearly extinct overtone singing style termed özläü (alternatively spelled uzlyau; Bashkort Өзләү). Additionally, Bashkorts perform uzlyau concurrently with playing the kurai flute, a national instrument. This method of vocalizing into a flute is also present in folk music traditions extending westward to the Balkans and Hungary.

Andalusia

Within Flamenco's Cante Jondo, vocalists frequently introduce overtonal coloration at the conclusion of phrases. This practice may have initially served to enhance sustain, subsequently evolving into a valued ornamental element. Notable artists such as Carmen Linares and Duquende commonly integrate overtones into their performances.

Africa

South Africa

Among Thembu Xhosa women in South Africa, a low, rhythmic throat-singing style known as umngqokolo is practiced, bearing resemblance to the Tuvan Kargyraa technique. This vocal form is frequently complemented by call-and-response singing and intricate polyrhythms.

Non-traditional Styles

Canada, United States, and Europe

During the 1920s, Arthur Miles, a Texan cowboy song singer, independently developed an overtone singing style akin to sygyt, which served as an augmentation to country western yodeling. While Blind Willie Johnson, also from Texas, is not classified as a true overtone singer by National Geographic, his vocal versatility, transitioning from guttural grunts to gentle lullabies, evokes the tonal qualities associated with overtone singing.

Beginning in the 1960s, Western musicians initiated collaborations with traditional throat singers and independently explored throat singing techniques. These endeavors led to significant original musical contributions. Given that harmonics are fundamental to all physical sounds, the concept of authenticity in this context is best evaluated through musical quality. Notable musicians in this evolving genre include Collegium Vocale Köln, which adopted this technique in 1968, Michael Vetter, Trần Quang Hải, David Hykes, Jill Purce, Jim Cole, Ry Cooder, and Paul Pena, who uniquely blended traditional Tuvan style with American blues. Other prominent figures are Steve Sklar and Kiva, known for their specialization in jazz/world beat genres and compositions for overtone choirs. Additionally, composer Baird Hersey and his group Prana, featuring Krishna Das, integrate overtone singing with Hindu mantra, while Canadian songwriter Nathan Rogers has become a proficient throat singer and instructor of Tuvan throat singing in Winnipeg, Manitoba.

Paul Pena gained recognition through the documentary Genghis Blues, which chronicles his journey to Tuva to participate in its annual throat-singing competition. This film received the documentary award at the 1999 Sundance Film Festival and was subsequently nominated for an Oscar in 2000.

Tuvan vocalist Sainkho Namtchylak has engaged in collaborations with free jazz musicians such as Evan Parker and Ned Rothenberg. Similarly, Lester Bowie and Ornette Coleman have partnered with the Tenores di Bitti, and Eleanor Hovda has composed a piece utilizing the Xhosa singing style. Furthermore, DJs and electronic music performers, including The KLF, have incorporated throat singing, overtone singing, or the underlying theory of harmonics into their musical works.

Trần Quang Hải, a dedicated researcher of overtone singing based in Paris, France, since 1969, has published numerous articles and videos on the subject since 1971. His 1989 film, The Song of Harmonics, directed by Hugo Zemp, garnered awards in Estonia, France, and Canada.

David Hykes established Harmonic Chant in New York in 1975, the same year he founded The Harmonic Choir, which is widely regarded as one of the world's foremost overtone ensembles.

Wolfgang Saus, from Germany, is recognized as a leading European educator and performer of "polyphonic overtone singing." His distinctive skills render his performances immediately identifiable. Trained as a classical baritone, Saus also composes and arranges polyphonic overtone singing music for both solo voice and choirs.

A cappella vocalist Avi Kaplan has incorporated overtone singing into performances with his group Pentatonix, effectively merging throat singing with a cappella dubstep.

The Overtone Choir Spektrum, located in Prague, Czech Republic, stands out among overtone choirs for its unique integration of traditional choir singing with overtone techniques. It is the sole ensemble of its kind in the Czech Republic and one of only a few globally.

MuOM Ecstatic Voices represents another distinctive overtone singing choir. Its original compositions blend Western overtone singing with various Tuvan and Mongolian throat singing techniques, including kargyraa, khoomei, sygyt, ezengiler, and bonbarnadyr. Established in Barcelona in 2008 with an average of eight singers, the choir specializes in creating overtone polyphony, where each singer produces an overtone, and the polyphony of the fundamentals, thereby generating two discernible sound planes.

The Sherden Overtone Choir was founded in Sardinia in 2016 by Ilaria Orefice and Giovanni Bortoluzzi. This choir uniquely combines Tuvan throat-singing styles with Sardinian throat-singing traditions.

Contemporary multi-instrumentalist performer The Suitcase Junket utilizes a self-taught overtone singing or throat-singing technique in his work.

Several contemporary classical composers have integrated overtone singing into their compositions. Karlheinz Stockhausen was an early pioneer, notably with his 1968 work Stimmung. Trần Quang Hải, a French national of Vietnamese heritage, co-authored "Về Nguồn" with Vietnamese composer Nguyễn Văn Tường in 1975. The piece "Past Life Melodies" for SATB chorus by Australian composer Sarah Hopkins also mandates this technique. Furthermore, in Tan Dun's Water Passion after St. Matthew, the soprano and bass soloists employ a range of vocal techniques, including overtone singing in the Mongolian style.

In 2014, German vocalist Anna-Maria Hefele gained widespread attention on YouTube for her "polyphonic overtone" singing. The Huffington Post lauded her "amazing ability," describing her vocalization as "utterly bizarre." By October 10, 2014, her video, Polyphonic Overtone Singing, which features Hefele demonstrating and elucidating overtones, had reached the second position on The Guardian's Viral Video Chart.

Istanbul-based British vocalist Nikolai Galen integrates overtones into his experimental compositions. These vocal techniques are featured on his solo album Emanuel Vigeland, the Black Paintings album Screams and Silence, and the Hoca Nasreddin album A Headful of Birds.

• Human voice
• Notes

Notes

References

• Bandinu, Omar (2006). "Il canto a tenore: dai nuraghi all'Unesco," Siti 2, no. 3 (July–September): 16–21.
• Bellamy, Isabel, and Donald MacLean (2005). Radiant Healing: The Many Paths to Personal Harmony and Planetary Wholeness. Buddina, Queensland (Australia): Joshua Books. ISBN 0-9756878-5-9.
• Haouli, Janete El (2006). Demetrio Stratos: en busca de la voz-música. México, D. F.: Radio Educación – Consejo Nacional para la Cultura y las Artes.
• Hefele, Eklund & McAllister (2019). "Polyphonic Overtone Singing: An Acoustic and Physiological (MRI) Analysis and a First-person Description of a Unique Mode of Singing." In Mattias Heldner (ed.), Proceedings from Fonetik 2019, 10–12 June 2019, Stockholm, Sweden. PERILUS XXVII, ISSN 0282-6690, ISBN 978-91-7797-984-5 (print version), ISBN 978-91-7797-985-2 (electronic version), doi:10.5281/zenodo.3246011, pp. 91–96.
• Levin, Theodore C., and Michael E. Edgerton (1999). "The Throat Singers of Tuva." Scientific American 281, no. 3 (September): 80–87.
• Levin, Theodore, and Valentina Süzükei (2006). Where Rivers and Mountains Sing. Bloomington: Indiana University Press. ISBN 0-253-34715-7.
• Pariser, David, and Enid Zimmerman (2004). "Learning in the Visual Arts: Characteristics of Gifted and Talented Individuals." In Handbook of Research and Policy in Art Education, edited by Elliot W. Eisner and Michael D. Day. Lawrence Erlbaum Associates. p. 388. ISBN 978-0-8058-4972-1.
• Saus, Wolfgang (2004). Oberton Singen. Schönau im Odenwald: Traumzeit-Verlag. ISBN 3-933825-36-9 (German).
• Sklar, Steve (2005). "Types of throat singing."
• Titze, Ingo R. (1994). Principles of Voice Production. Englewood Cliffs, NJ: Prentice Hall. ISBN 978-0-13-717893-3. Reprinted Iowa City: National Center for Voice and Speech, 2000. ISBN 978-0-87414-122-1.
• Titze, Ingo R. (2008). "The Human Instrument." Scientific American 298, no. 1 (July): 94–101. PM 18225701.
• Tongeren, Mark C. van (2002). Overtone Singing: Physics and Metaphysics of Harmonics in East and West. Amsterdam: Fusica. ISBN 90-807163-2-4 (pbk), ISBN 90-807163-1-6 (cloth).
• Tran Quang Hai (2018). "50 Years of Research in Vietnamese Traditional Music and Overtone Singing." 462p. Tu Sach Khai Tri, California, USA. ISBN 978-1-7902-3908-5.

• Overtone singing used in choir music – Overtone Choir Spektrum & Jan Stanek
• Audio samples of overtone and throat singing Archived 2011-04-14 at the Wayback Machine