Also Dorian, step II-III; Lydian, step VII-I; Mixolydian, step VI-VII; Aeolian, step V-VI; Locrian, step IV-V & Ionian, step III-IV.
If we should attempt to map the most obvious combinations of fundamental and harmonics in overtone singing, it is essential to find a simple way of illustrating them in sounds and images as the field is vast.
Stuart Hinds lately shared his work “Making Music with Overtone Singing” which is available at his home page
Here I have used an ordinary table in a text document program. The sounds were plotted into https://onlinesequencer.net which can be used freely without registering. If anyone feels tempted to contribute with a sung version of the exercise, please share it with us! The simplest way to do this may be YouTube or https://clyp.it/
More exercises may be uploaded if enough interest is shown.
The exercise may be transposed to any tonal pitch; the keyboard pattern is merely meant as an aid to identify the minor and major steps within the modal scales and to illustrate which harmonics apply to the scale pattern (the ones in white cells).