Overtone Singing Techniques

Comment

Comment by Javier Nahum on January 2, 2010 at 11:54pm

Good luck my friend!!!!
all the best!!!!

Comment by Nicolas MOREAU on January 2, 2010 at 11:26pm

Hello everybody, i try to learn khoomei by myself and i've recorded a small mp3 on my page. Can you tell me if i'm on the good way to sing khoomeï ? I want to learn sygyt but i've read that sygyt is based on khoomei so i work on it :-))

thank you !

Comment by Jens Mügge on November 29, 2009 at 8:05pm

Nice offer Steve!

Comment by Steve Sklar on November 28, 2009 at 8:23pm

Would you like to learn Tuvan Throat-singing techniques?

All three of my online lessons are on sale for $20/each (regularly $30) through December 31, 2009.


http://khoomei.com/lessons.htm

Go get 'em!

Comment by Jens Mügge on November 25, 2009 at 5:40am

Hi friends, I have written here a new review how Hosoo makes throatsinging popular!

Comment by Jens Mügge on August 28, 2009 at 12:17pm

False Vocal Fold Surface Waves During Sygyt Singing: a theoretical study by Chen-Gia Tsai

Comment by Bodhi Amol on May 12, 2009 at 5:54pm

Hello ,i don' think a 10000 year old tradition is of more or less worth then a 1000,100 or even 10 year old tradition.According to a scientific work from Tuva there is yet no written account found of something like overtonesinging (or throatsinging) in Tuva and around that is older than 1000-1200 years.,whereas there ARE accounts of the jew's harp that are older. What counts is what it's worth for the people persuing it,what place and function it has in there respective culture.It's pure speculation to think overtone/throat singing should be the oldest form of singing there is,because i can't conceive that such sophisticated ways of singing should have been there BEFORE simpler ways of using the voice. As far as i know the research the Ainu "rekukkara" didn't involve the pointed and intended use of partials/harmonics,but more the use of rough ,throaty sounds like in the throatsinging of the Chukchis and more (far away) the Inuits of Canada.

Comment by Raffaele Schiavo on April 11, 2009 at 12:28pm

Hello There! A beautiful and peaceful Easter to all of you! Ciao :-)

Comment by Dean Frenkel on March 11, 2009 at 2:04pm

Here is my attempt at articulating one perspective on technique.

It is a given that there are many harmonic vocal techniques in the broad area of throat singing. While some like sygyt, kargyraa, dumchuktaar, rekukkara, nipaquhiit, have been named by certain cultures, perhaps there are yet more techniques than there are names for. There are musical techniques, healing techniques and spiritual techniques. I think most have the following components in common.

POSITIONING
Positioning of the lips, tongue, the glottal muscles, the nasal muscles. Frequently they need to be very precisely positioned.

PROJECTION
I consider that with overtones there is a choice of in excess of 100 levels of projection, perhaps more than ten times the levels of normal singing. Accessing the most resonant levels, which I call the signature zone, is key to the skill.

COORDINATION
Coordinating all the elements, the positioning of the the lips, tongue, glottal muscles, nasal muscles, with projection of breath and sound. All helped by relaxing the muscles.

Technique is important if the singer is to achieve what can be called harmonic consciousness. It is perhaps a form of enlightenment, an altered consciousness, a slowing of perception of time and a broadening of the sense of space. It is a great connector to the environment, the cosmos and to the self. Only excellent singers can be sufficiently throat-muscle strong and relaxed enough to generate the energy of resonance.

I'm confident of the following: that one the most important factors behind harmonic consciousness is not the sounds but the impact of a special breathing exercise involved in making them.

It is little known that the breathing technique which drives the harmonic sounds is a powerful prana yama exercise of long steady gradual projection. It can achieve a state of no wasted energy, enhanced awareness and invigoration. A liberating feature of this is that you don't need religion to achieve its many levels.

Comment by Dean Frenkel on March 10, 2009 at 11:51pm

G'day OMNers, How lucky we are to have such a network - thanks to Jens and to all contributors. I'd firstly like to endorse Steve Sklar's sentiments about those musicians who present overtones/throat singing as a 'token' on top of their musical specialties. One day I'd love to demonstrate the folly to an audience by playing some very average violin after singing. I'd also like to thank Steve for outlining his perspectives and for having the courage to be openly honest about his feelings. I also agree with him about the value of a range of diverse techniques and approaches and the analogy of coloured sound. On the other side I think his explanation of 'technique' needs some elaborating on. In answer to his Christianisation comment, I agree that there are exceptions and that indeed missionaries have done some good work but I hold firm to my contention that Christianisation of native peoples continues to decimate traditional practices on a ubiquitous scale. Re Tibet, the Dalai Lama today announced that China is turning Tibet into a hell on earth. It's clear that China's repression of Tibet includes assaults on traditional practices including throat singing. Are we distinguishable from other musicians and singers? I think so - as harmonic singers and throat singers we are all vocal instrumentalists.

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