Over 700.000 views. See the full movie.
The Life of Buddha. The London-based composer Glenn Keiles arranged the soundtrack for this 50-minute BBC documentary for the Aachen Obertonchor.
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It's from the sound track of academy award winning movie "The Great Beauty". And it's from Estonia again, the country I love, the country of voices.
Die große Schönheit – mit Obertönen zum Oscar | Vox Clamantis
New video of Baikal Jew's Harp Ensemble "O, du lieber Augustin"
Check this out! Amazing what you can create from a single voice.
https://www.oberton.org/one-mouth-orchestra-michal-esz/
A short piece with overtone singing and guitar. I composed this after looking at chordal structures in the overtone scale and demonstrating how to sing these as overtone arpeggios. Especially the augmented chordal structures are inspired by that, I did not use these for quite a long time. I like the shady quality of these chord types. Also, I tried to combine the modal aspect of the overtone singing resulting from one fundamental pitch that is not changed throughout the whole piece with chords that suggest a somewhat open tonality. In a way, the chords challenge the drone of the singing, they lean against it in dissonances that are released in different directions.
The wunderful Swedish folk song “Ack, Värmeland, du sköna” in a set for overtone singing with changing fundamentals incl accompaniment chords. Anybody who tries it. The premiere was in Sweden last week together with Anna-Maria Hefele.
https://www.oberton.org/neue-herausvorderung-fuer-gute-obertonsaenger/
Seit ein paar Jahren spiele ich den Cosmicbow, einen mehrstimmigen Mundbogen aus Frankreich. Hier ein Blogartikel mit einem fantastischen Video des Erfinders:
https://www.oberton.org/zwei-obertonmelodien-gleichzeitig-cosmicbow-spieler-christopher-vila/
http://www.oberton.org wurde komplett runderneuert. Auf über 200 Seiten findet Ihr meine über 20 Jahre gesammelten Informationen rund um Obertongesang.
Das Design ist luftiger, leichter navigierbar (hoffentlich) und besser durchsuchbar. Die Informationen sind schon jetzt mit über 200 Seiten deutlich umfangreicher als auf der alten Seite.
Neu unter anderem:
- Werkverzeichnis– Obertöne in der Klassik, mit vielen Videos
- Stileübersicht– Die Weltkarte des Obertongesangs
Komplett überarbeitet:
Ich freue mich über Rückmeldungen und Kritik.
I'm now more confortable with my chest voice, and how to produce overtones.
I got a good idea of what to do in order to sing khoomeï, sygyt and kargyraa.
I will spend more time and practice on these styles before going to borbannadyr, ezengileer and chylandyk.
I'll be happy to share with other singers, i'm also looking for an Igil, a Tsuur Flute or a good Khomus.
My first choice would be an Igil, so hard to find here in France....
But a good Temir Khomus will give me a lot of satisfaction, i only have a dan moi right now with poor overtones...
I hope to find more people here in France to share and speak about Khoomeï :)
Liebe Freunde der Neuen Meditativen Musik,
Mit den Ankündigungen für die letzten beiden Monate des Jahres 2013 möchte ich Ihnen/Euch auch eine Vorschau auf unsere Aktivitäten des Jahres 2014 geben.
Wir waren gerade letztes Wochenende wieder mit dem Obertonchor in der Benediktinerabtei Königsmünster in Meschede, wo 1992 die CDs –Evolution- und -Spirit Come- aufgenommen wurden. Dort haben wir nun wieder Aufnahmen in der sensationellen Akustik des Sakramentsturmes (12 Sec. natürlicher Nachhall) machen können und haben in der Nacht von Allerheiligen auf Allerseelen unser neues Programm „Gaia“ aufgenommen, das voraussichtlich Ostern 2014 erscheinen wird. Vorbestellungen werden schon jetzt entgegengenommen um den Produktionsprozess zu beschleunigen. Vorher wird allerdings unsere neue Doppel CD mit Indischen Gesängen - Bhajan, Kirtan, Mantra- erscheinen, mit dem Obertonchor und dem indischen Flötisten Dinesh Mishra als Gast. Für alle "Lieder-des-Herzens" Freunde ein lang ersehnter Wunsch, der bis Weihnachten vollendet sein soll. Auch hierzu ist der Vorbestellbriefkasten geöffnet.
(Unsere Doppel-CDs kosten ab 2014 nur noch 22.-€ statt bisher 25.-€ )
Hier schon die Titelliste:
1.Sri Ram Jay Ram Jay Jay Ram, 2.Bolo Bolo 3.Hari Om 4. Gaja Ne Na 5. Sai Hey Djiwan 6. Ganesha Sharenam 6. Ananda Gopala 7. Om Namah Shivaja 8. Charana Kamala Bando 9. Hare Krishna …
Wer von heute bis Weihnachten bei uns CDs bestellt, bekommt eine CD-Aruna Maxi als Bonus gratis dazu.
Außerdem verschenken wir unsere MCs/Musikkassetten. Wer also noch einen Kassettenrecorder hat und Interesse an unseren MCs hat, bekommt gegen Versandgebühr einen Satz unserer Kassetten gratis solange der Vorrat reicht.
Und hier die Konzert und Seminardaten für November und Dezember 2013:
28. Dez. Nümbrecht, Vollmondkonzert, Baden in Klängen zum Jahresausklang,
Wasser Schwimmbad Element Nümbrecht-Schulzentrum
Konzert 19-22 Uhr, Eintritt: 35,- €, 60,- € Paare, 10,- € Kinder
info@-nuembrecht-online.de Tel.:02293-302302 Hier unser neues Video auf youtube
MEDITATIVER ABWUN SINGKREIS in KÖLN
Das Vaterunser in der Sprache Jesu
Mantrisches Mitsing-Oratorium in der Vorweihnachtszeit
Achtung neuer Ort neue Zeit!!!
Donnerstag von 19:30 bis 21:45
21. Nov., 28. Nov., 5. Dez., 12. Dez., 19. Dez.
Beitrag 20,-€ pro Abend. Thomaskirche, Lentstraße 1 Ecke Neußer Wall
50670 Köln www.thomaskirche-koeln.de
Lichthaus-Musik vorläufiges Programm 2014 - Seminare und Konzerte mit Christian Bollmann
06.-09. Feb. Holzkirchen, Benediktushof, Klang-Heil-Kunst,Heilende Klänge, Heilsames
Seminar Singen, offene Jahresgruppe Teil 1, zusammen mit Jutta Reichardt, Kursgeb.: 280,- €/260,-€, zzgl. Unterk./ Verpfl., Info u. Anmeldung: www.benediktushof-holzkirchen.de Tel.: 09369-98380, Sonderinfo
21. Feb. Bad Godesberg, Obertöne und Herzensgesänge mit Jutta Reichardt,
Konzert Christian Bollmann und Cordelia Loosen-Sarr im Albert-Schweitzer-Haus
Beethovenallee 16, 53173 Bad Godesberg, 19:30 Uhr, Beitrag: 20,-/15,-€
Tel. 0228 / 364737, www.albert-schweitzer-haus-bonn.de
23. Feb. Bad Godesberg, Obertöne, Heilende Klänge, Tageseminar, Albert
Seminar Schweitzer-Haus, Beethovenallee 16, 53173 Bad Godesberg, 11-18 Uhr, Beitrag: 90,- € Tel. 0228 / 364737, office@ashbonn.de
11. April Darmstadt, Herzensgesänge,
Konzert Pearls of Love and Light, zusammen mit Jutta Reichardt
12. April Bad Herrenalb, Nacht der spirituellen Lieder, 19:30-22:30 Uhr
Konzert Evang. Akademie Bad Herrenalb, Dobler Str. 51,
76332 Bad Herrenalb, Beitrag 15,00 €, bitte vor Ort bezahlen.
13. April Bad Herrenalb, Mitsingtag, 10-17 Uhr,
Seminar Evang. Akademie Bad Herrenalb, Dobler Str. 51,
76332 Bad Herrenalb, Beitrag 95,-€
17.-21. April Saarland, Haus des Phönix, Osterseminar, Klang-Heil-Kunst,
OsterSeminar zusammen mit Jutta Reichardt,http://www.hausdesphoenix.de/
26. April Essen Katakomben-Theater im Girardet Haus, Solokonzert
Konzert Girardet Str. 2-38, 45131 Essen
Fon: 0201 · 43 04 672 E-Mail: katakomben-theater@web.de
26. April Essen Katakomben-Theater im Girardet Haus, Tagesseminar
Konzert Girardet Str. 2-38, 45131 Essen
Fon: 0201 · 43 04 672 E-Mail: katakomben-theater@web.de
29. April Gelsenkirchen, Consoltheater, Begegnung im Klangraum, Michael Gees
Konzert und Christian Bollmann Bismarkstr. 240, 45889 Gelsenkirchen
kontakt@consoltheater.de Tel. 0209-9882282, 20 Uhr
01.-04. Mai Allgäu, Jodeln und Obertongesang - 4 Tage - im Klangraum Allgäu
Seminar Kursgeb.: 280.-/240.-€ ermäßigt, bitte Sonderinfo anfordern.
Info und Anmeldung: Lichthaus-Musik, Tel./Fax 02293/7031,
03. Mai Allgäu, Obertonkonzert mit Christian Bollmann und Oberton-Jodelgruppe 2014
Konzert Hof Surya, Wälderstr.55, 88171 Simmerberg, 19 Uhr, Beitrag: 15.-/12.-€ erm.
07.-08. Mai Berchtesgarden, Salzheilstollen, Klangzaubernacht, 20 Uhr bis 7:30 Uhr
Konzert mit anschließendem Frühstück, Beitrag 150,-€, www.salzheilstollen.com
09.-11. Mai Augsburg, Chan Mi Gong Symposium http://chanmigong.de/
16.-18. Mai Regensburg/Teublitz, Ein Wochenende voll Klang und Stille
Seminar Seminarhaus Frauenhof, Kursgeb: 170,-/150,-€ erm.
Info und Anmeldung: Tel: 09471-8974
18. Mai Murnau, Westtorhalle, Nacht der spirituellen Lieder, 20 Uhr,
Konzert Dr.-August-Einsele-Ring 18, www.westtor.de , Tel. 08841-4335
21.-25. Mai Holzkirchen, Benediktushof, Zentrum für spirituelle Wege, Klosterstr. 10
Seminar Abwun - Das Vaterunser in der Sprache Jesu, zusammen mit Jutta Reichardt,
offene Jahresgruppe Teil 2, Kursgeb.: 295,- € zzgl. Unterk./ Verpfl.,
Info u. Anmeldung: www.benediktushof-holzkirchen.de , Tel.: 09369-98380
24. Mai Holzkirchen, Benediktushof, Zentrum für spirituelle Wege, 19:30 Uhr
Konzertfeier Abwun, Mantrisches Oratorium, Eintritt frei, Spende erbeten www.benediktushof-holzkirchen.de Klosterstr. 10, 97292 Holzkirchen
13. Juni Bad Orb, Vollmondkonzert in der Liquid-Sound-Therme,
Wasser Kunst und Musikevent mit Christian Bollmann und Jutta Reichardt
Konzert
23.7.-06.8. Lesbos, Griechenland, Sommerkurse
Seminare Klangexkursion und Baden in Klängen im Milelja Inselgarten
mit Christian Bollmann und Jutta Reichardt
23. - 30. Juli 2014
Wasser-Klang Exkursion - Schwingend und klingend die innere Freude und Lebendigkeit im Kraftfeld der Elemente lichtvoll feiern -
mit Herzensgesängen, Obertönen, Kreistänzen, Klangheilkreisen, Tao Yoga und Aqua-Sound-Floating. Leitung: Christian Bollmann und Jutta Reichardt
Flyer und Infos: www.lichthaus-musik.de Tel. 02293-7031
30. Juli - 6. August
30. Juli - 6. August
Wasser-Klang Exkursion in Begegnung mit der Weisheit und den heiligen Künsten Hawaiis. - Aus der Fülle schöpfen – Programm wie in der ersten Woche, zusätzlich wird Daphne La'akea Therese, Hüterin der Kultur Hawaii´s von der Garteninsel Kaua´i als weitere Leiterin in der zweiten Woche uns täglich ´Ike (Wissen & Weisheit der Ahnen) teilen und uns in die heiligen Künste von Ha (Atem), Hula (Tanz), Oli (Gesang), Mo'olelo (Erzählung) und Ho'oponopono (spirituelle philosophische Praxis ) einführen. Bitte Sonderinfo anfordern: 02293-7031, lichthaus-musik@freenet.de
www.lichthaus-musik.de und www.milelja.de
03.-06. Sep. Holzkirchen, Benediktushof, Zentrum für spirituelle Wege,
Seminar Klang-Heil-Kunst, Heilende Klänge, Heilsames Singen, Offene Jahresgruppe Teil 3,
zusammen mit Jutta Reichardt Kursgeb.: 280,- € zzgl. Unterk./ Verpfl.,
Info u. Anmeldung: www.benediktushof-holzkirchen.de , Tel.: 09369-98380
05. Sep. Holzkirchen, Benediktushof, Zentrum für spirituelle Wege,
Konzert Obertonkonzert, Eintritt: 13.-/9.- € erm. www.benediktushof-holzkirchen.de
Klosterstr. 10, 97292 Holzkirchen/Unterfranken
07.-13. Sep. Klangexkursion mit Abwun in Chartres, Frankreich, ausgebucht - Warteliste
Seminar
12. Sep. Chartres/Frankreich, Abwun, Mantrisches Oratorium, Aufführung
Konzert www.lichthaus-musik.de
19. Sep. Bad Pyrmont, Hufeland Therme, In Klängen Baden
Wasser Kunst- und Musikevent mit Christian Bollmann und Jutta Reichardt,18-22 Uhr
Konzert www.staatsbad-pyrmont.de
20. Sep. Bad Pyrmont, Herzensgesänge mit Christian Bollmann und Jutta Reichardt
Konzert Heilsame Lieder, Klänge und Obertöne, 19:30 Uhr, Haus der Begegnung, Mühlenstr. 2, Eintritt 15,-/10,- €
Info u. Anmeld: almut.martini@gmx.de , Tel. 05281-3240, Fax:05281-607499
26.-28. Sep. Hohenwart, Jodeln und Obertongesang, Schönbornstr. 25,
Konzert 75181 Pforzheim-Hohenwart, Kursgeb. 250,- €, Telefon: 07234-606-36; Telefax: 07234-606-550 www.hohenwart-forum.de
23.-26. Okt. Holzkirchen, Benediktushof, Zentrum für spirituelle Wege,
Seminar Klang-Heil-Kunst, Heilende Klänge, Heilsames Singen,
offene Jahresgruppe Teil 4, zusammen mit Jutta Reichardt, Kursgeb.: 280,- € zzgl. Unterk./ Verpfl., Info u. Anmeldung: www.benediktushof-holzkirchen.de ,
Tel.: 09369-98380
07. Nov. Bonn, Nacht der spirituellen Lieder,
Konzert
08.-09. Nov. Bonn, Albert Schweitzer-Haus, Klang-Heil-Kunst, zusammen mit Jutta
Seminar Reichardt, Beethovenallee 16, 53173 Bad Godesberg
jeweils 10-18 Uhr, Beitrag: 220,- € Tel. 0228 / 364737, office@ashbonn.de
12.-14. Dez. Saarland, Haus des Phönix, Klang-Heil-Kunst, zusammen mit Jutta Reichardt
Seminar http://www.hausdesphoenix.de/
27. Dez. Nümbrecht, Vollmondkonzert, Baden in Klängen zum Jahresausklang,
Wasser Schwimmbad Element Nümbrecht-Schulzentrum
Konzert 19-22 Uhr, Eintritt: 35,- €, 60,- € Paare, 10,- € Kinder
info@-nuembrecht-online.de Tel.:02293-302302
Transalpinchor, 2014 05. Feb. 12. März, 09. April, 28. Mai, 11. Juni, 24. August (TAC -TAG)
24. September, 22. Oktober, 19. November, 07. Dezember (TAG -TAG)
Änderungen vorbehalten, Aktualisierungen auf www.lichthaus-musik.de
Mit den besten Wünschen
und klingenden Grüßen
Christian Bollmann
NB! The text formatting of this blog i rather limited. x^y means 'x to the power of y'.
The notion that in the tonal world the frequency value 432 Hz is an expression of something special, has proven to be tenacious.
Is 432 Hz an expression of a deeper, more natural, perhaps even more cosmic concert pitch than 440 Hz?
My immediate and clear answer is no!
Proponents of this idea – and they are growing in number – do not seem to contemplate on the basis of what time, space, numbers and tones really are. For what exactly is a Hertz, and what does the numerical value of the frequency indicate?
Here we shall examine exactly that question. It is necessary, however, with four general considerations first:
- 432 Hz, 440 Hz , etc. are points of reference. There are no tonal frequencies which are more pure than others – just as none of the beautiful colours of the rainbow spectrum are more pure than the others. We shall return to the matter of colours later as a direct correlation between tones and colours is often claimed by proponents of the the idea of the excellency of 432.
- The notion is also often accompanied by an assumption that A=432 Hz is a more original concert pitch, not seldom it is launched with claims of ancient roots. You must then remember that the first time any tone frequency was determined was in 1636, when Marin Mersenne measured a tone of 84 Hz.
Marin Mersenne (1588-1648)
was the first to measure a tonal frequency value in 1636
- It is also important to keep in mind that the concert pitch, A, has alternated much throughout history and from place to place, even to the degree that the neighboring cities have operated with different standard pitches. You may find an outline on the history of the concert pitch at the Wikipedia entry on the subject.
- The acclaimed conspiracy theories about Goebbels and the Nazi mindset as crucial to the setting of concert pitch at 440 Hz, speaks for itself. It is mere speculation. The value was decided by a majority of the participants at an international conference in London in 1939. It had been used as a standard in the U.S. since 1917 on the recommendation of the American Federation of Musicians and recognized at government level there long before the world had to take Nazism seriously. The value was recorded in 1955 by the International Standards Organisation and in 1975 was appointed as ISO standard , the most widely used standard worldwide.
In short one Hertz indicates one cycle per second. It is a measuring unit of frequency.
If you put forward the argument that a Herz value has its foundation in deeper natural law, you must also be able to demonstrate that the time unit one second is rather an expression of nature than culture.
432 Hz as music
But let us take hold of the music! In a heptatonic major scale with fundamental C, A is the major sixth.
The modern tempering practice of 12TET (an equally divided octave, all halftone steps are of the same relative size) is certainly not unproblematic. Thirds and sixths in this tuning come out around one seventh of a halftone off pitch seen in relation to the intervals based om the harmonic series. People pushing for 'natural ' tonal relationships would have a chunk with more meat on it by focusing on this issue .
In 12TET C4 takes the value of 261.63 Hz and A4 = 440 Hz.
432 Hz is the major sixth from C4= 256 Hz in the Pythagorean tuning system.
An octave is the frequency and wavelength ratio 1:2.
256 Hz is an octave of the time unit one second: There are eight doublings of frequency – and correspondingly eight halvings of the wavelength – in the 'interval' from 1 Hz to 256 Hz:
1-2-4-8-16-32-64-128-256.
You reach concert pitch A4 = 432 Hz by moving three perfect fifths (ratio 2:3), up from 256 Hz and one octave down.
In numbers :
432 Hz = (256 Hz x (3/2)^3):2
(= 256 x 27 /16).
In other words, already quite fishy, how to get from the time unit of one second to the frequency value 432 Hz.
And what does the time unit really indicate? One second is a subdivision of a day in 60x60x24 = 86,400 parts. Dissolved into prime factors, it is a day divided in 2^7 x 3^3 x 5^2.
In other words that is also a rather complex affair and as phenomenon essentially an expression of culture, the work of the mind of man!
Admittedly the low prime numbers 2, 3 and 5 are definitely charged with fundamental music as these factors in the harmonic series express the intervals perfect octave, perfect fifth and just major third respectively (Note: In that actual order!).
However, 7-, 11- and 13 divisions also come to expression in the language of nature – and the following primes as well!
In other words, both the time unit and the Pythagorean major sixth are essentially an expression of people's penchant for systematizing.
432 Hz corresponds to a division of a day in 2^15 x 3^3 x 5^2
- A measure of compliance with deeper nature? No!
The concept ends all too easyly in speculative numerology.
Of course, 432 Hz for practical reasons may feel good. This applies both to the transitions of registers of singers, string instruments which suffer less from tension and when generally trying to let some air slip out of the inflation which is indeed taking place in concert pitch (orchestral sound will be perceived as having more brilliance, when the pitch is raised a few Hertz relative to the reference, the ear has become accustomed to. Some orchestras exploit that fact by raising concert pitch even higher than 440 Hz).
In practice, one must also ponder that the time measure one day is situated in a completely different dimension than the tonal frequencies of the octaves of music!
Tones and colors
The same is true of the correlations, which many in the fascination of a holistic language interprete as direct correspondences between planets, chakras, colours, etc.
It is an important and essential fact that the octave in both the world of tonal notes colours are exposing the same fundamental principle:
To return to an already established quality on a new level / a new turn of the spiral.
All notes in the octave interval have the same name.
And it is clear that red and violet, the terms of the slowest respectively the fastest frequency rate of the rainbow spectrum – which covers just short of one octave – are neighbours in the circle of colors (or – actually more precise: spiral of colours), not merely two polar opposites .
But people who are eager to put directly equate between the field of tones and the field of colours basically seem to forget the intermediates:
- First of all, sound and colour are the expressions of two fundamentally different wave types, which do not interact with each other. Light is disseminated transversely, sound is disseminated longitudinally.
- For both light and sound, there is a clear and direct relationship between frequency and wavelength. These are two sides of the same coin. We might as well identify a tone by its wavelength as by its frequency. In the world of colours it is actually the norm to identify by wavelengths. This is merely convention.
However, importantly: If there is an octave relation between a tonal frequency and a color frequency of the rainbow spectrum, there is by definition no correspondence between the wavelengths, which after all are just as important as frequencies.
The two waveforms refer to two different constants in the basic equation, they both have roots in: f x λ = c ( frequency multiplied by the wavelength equal a constant). The constant for the sound is the velocity of sound in the relevant media. The constant for light is the speed of light.
- Just as tonal frequencies and the time interval of 24 hours find themselves in completely different oscillation dimensions, there is an enormous distance from the frequency of tones to the universe of colors. 40 octaves sounds very innocent, but it is gigantic. Please check the value of 2^40 for your self on a calculator !
- The two waveforms have very different span: Our ears may perceive 10-11 octaves tones, but as earlier mentioned we can see barely one octave of colors. This has important implications for how we structure the perception of the two fields respectively.
- Verily it is universal that the octave is reflected in the proportion 1:2, but our perception of both music as colors are also tied to our sensory mechanism. And in the periphery – the very deep or very high notes – the interval 1:2 is not peceived as an octave .
The octave spiral illustrates the inherent order of the harmonic series.
The octaves are divided i 1-2-4-8- ... etc., partials. Here the first 16 are shown.
- The deepest natural organisation of sound is the harmonic series. Here the octaves are divided in 2-4-8-16 - … etc. partials.
The most natural division of colors is into three respectively six.
In other words, it cannot be considered as an expression of deep reflection if you on the basis of a culturally conditoned heptatonic scale suggest a deep and direct correlation between seven colors, seven chakras, seven planets, … etc. Read my article on this subject (in Danish, sorry!)!
A large part of the misery has been caused Newton's division of the spectrum into seven prismatic colors from the beginning of the 18 century. It was put forward because he was intrigued by a possible link between astrology, alchemy, tones and colors. But indigo cannot be considered a primary colour and the general correspondence is at best poetic. Newton has had such an impact that virtually all lay people are convinced that the colour octave naturally divides into seven. It is actually not the case!
- It is also striking that different synesthetes find very different correspondences between tones and colors.
Conclusion
Putative correspondences between tones and colors must therefore be taken with a grain of salt and any simple equation of different fields of wave expression it would be wise to relate to poetically.
The sower who spreads his equal sign between loosely plowed fields, can not expect to see a large and fertile harvest.
... And some of the thrill of life is indeed precisely when the equation is not solved in the simplest conceivable way.
Enjoy it! Cultivate when the equation does not solve itself immediately. Delve into the depths of differences as much as into the abyss of samenes. Then the possibillty of immersion may appear!
It is a shame if you on your quest for a language larger than life insist on cultivating perspectives of mere speculation. Music is essentially the basis for a holistic language. Through the concept of 'klang' (German and Scandinavian for the quality aspect of sound. 'Timbre' doesn't quite cover it) the harmonic series braids three primary fields of conception: Language (the timbre of wovel sounds), music (intervals) and mathematics (proportions).
All are founded in the body, and we are presented with a first-class tool to decode time and space. Frequency and wavelength are time and space !
Mehr Info dazu hier:
http://gisbertschuerigs.blogspot.de/
We're running a special deal on our available recordings: Get 3 CDs (High Quality Digital Downloads) of The Power of Sound Vol. 1, Skysong Sampler and Big Sky’s Standing on this Earth for only $25!
Nice little deal for our new fans!
http://skysongpro.com/buyshop/recordings/
Buy direct at https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=TWV846UXFB2XN
The Power of Sound Vol. 1
The new CD by Steve Sklar and Johnna Morrow, featuring all new studio recordings of musical selections from their incredible sound healing concerts. These are sonic “inner adventures” designed to evoke and stimulate an enhanced sense of well-being, spiritual connectedness, healing, and meditative journeying.
Available as CD or Digital Download High-Quality (320 kbps) MP3s via http://skysongpro.com/
1. Arches
2. Out of the Mist
3. Oh, Healing Waters
4. Oceana/Terra Firma
5. For Tenzin
6. Going… Going… Gong
Johnna Morrow: Vocals, flute, bass flute, didgeridoo, gongs, shaker, drum
Steve Sklar: Khoomei (Tuvan Throat-Singing), didgeridoo, Tibetan singing bowls, sruti box, gongs
Produced and engineered by Steve Sklar
- the relations between mathematics, intervals in just intonation, harmonic singing, sparkles and martial arts.
Jules Antoine Lissajous (1822–1880) was a french mathematician whose name is associated with the fascinating figures most commonly known for visualizing the proportions of the musical intervals in just intonation.
The intervals in questions are integer ratios from the harmonic series like Perfect Octave (ratio 1:2), Perfect Fifth (ratio 2:3), Perfect Fourth (3:4), Just Major Third (4:5), Just Minor Third (5:6) etc. and forms the basis for our perception and interpretation of musical intervals in a broader sense, as they are the deepest reference of tone relationships, nature's own way of organising music.
The simpler the Lissajous pattern the more consonant the interval:
As an overtone singer I am obviously strongly focused on these natural intervals. This music is brought out by a subtle command of the timbre of the singing voice and even though overtone singers may be led to the view that 'one note is sufficient', also here it is confirmed that a single note does not create the music but the interplay of two or more notes – even if this only takes place in the timbre. What creates tension and resolution in music is relations between notes: Intervals!
What is really interesting is that what can be regarded as simple integer ratios between frequency and wavewlength leaves a primary impact on our emotions. The Minor Third (in just tuning ratio: 5:6) by most people is perceived more sad, dark and soft (latin: mollis) than the Major Third (4:5) which seems happier, lighter and harder (latin: durus).
By the process of octavation – successive divisions of frequency/wavelength by 2 – these intervals may be brought down to the area of rhythm and can be interpreted as polyrhythmic structures, meaning that two or more different divisions of time meter or note measure are simultanously brought into play. So the interval of the Perfect Fifth, 2:3, reflected in the area of rhythm will be two over three (the pulse is divided in 3 beats) or three over two (the pulse is divided in 2 beats).
Musical notes are in more than one respect unappropriate as a mean to describe what takes place in the polyrhythmic field – where the 2:3 ratio is the most simple – and as many practitioners have problems with combining understanding and practice, I have developed a way to present and learn basic polyrhythmic figures. The above rhythm may easily be drummed with two hands on a table or your lap. If you however keep your focus on the left hand (green) and the line 'NOT DIF-fi-CULT' the natural accentuations (CAPITALS) of the words will lead you to feel the pulse as divided in three beats. By shifting your focus to the right hand (blue) and the line 'IT'S so EA-sy' magically the overall perception of the rhythm will change its character so that the pulse feels divided in two beats.
From the realm of polyrhythms we shall take a leap back to something visual, and it may be a help to recall how you may draw curves of light in the dark with a sparkler:
Nunchaku is a traditional japanese martial art form, where the weapon or tool is built on the principle of a flail: Two short rods connected with a link.
This form has a highly accomplished practitioner in Roy Williams, who holds the black belt in a few martial art forms. He has developed a variant called Penchaku, which has a high degree of aesthetic appeal. Here the movements of the rods are carried out so that their curves describe Lissjous figures. There are several interesting videos at his YouTube channel. Below you may watch a teaser. I find it highly inspiring.
Great news! Peggy Dettwiler and I have been invited to give a seminar at the 10th World Symposium on Choral Music in Seoul, Korea in August 2014. Our program is entitled: "Overtone Singing as a Choral Art." Our presentation will fit in well with the unifying theme for WSCM-10: the concept of Youth and 'Healing' as a means of understanding through choral music. There are 75 minutes of time alloted to our program, and we will present it twice at the symposium.
Dr. Dettwiler, Director of Choirs at Mansfield University, has performed choral works using overtone singing on many occasions, including the well-known 'Past Life Melodies" of Sarah Hopkins and several of my compositions. I am delighted to have this opportunity to work with Peggy and excited to be a part of this prestigious conference for choral professionals from all around the world!
In 1999 I was a beginner in the art of overtone singing. My recording outfit was also very primitive. I fell in love with places with unusual acoustic properties, above all an abandoned oil tank situated at the water front of an area which used to be a industrial harbour but now has become a mundane quarter of living close to the center of Copenhagen.
In the article (which is in Danish, sorry!), you may listen to a Silo Solo and you may also become aquainted with other tanks and silos which have been utilized for vocal unfolding:
In Denmark, Sweden, in Colorado, ...
Finally you may find a link to the world map of beautiful and unusual acoustic spaces!
FIND THE ARTICLE HERE!
/Skye
A friend of mine shared a link on my facebook wall. I followed it and read Mike Spinak's article The Golden Section Hypothesis: A Critical Look. My friend who comes from Sicily had asked me about my opinion, so I wrote the following reflections:
Wow, great article! Thanks for sharing!
There is no doubt that the overall picture is that we have become so infatuated with the golden section and golden spirals, that it often rather blocks than opens our eyes to the wonders of natural and artistic beauty.
In his emphasis to unmask the tendency to find the golden mean, even where it doesn't exist, Mike Spinak does exclude the fact that in the world of botany the ruling principle of order definitely is the arrangement of leaves, petals and seeds (phyllotaxis) according to the Fibonacci series which apply to 92% of the species according to Roger V. Jean (Symmetry in Plants), although we have to consider that this includes all the 1:2 and 2:3 relations which are natural because they are simple.
That being said, I think he is doing a great job.
And we could continue to the field of music where the focus is almost as much out of proportions.
It is more likely to find an article trying to argument that there is something remarkable about the sixth intervals composed by 3:5, 5:8 or 8:13 ratios simply because they are included in the Fibonacci series – even though their musical relevance are secondary – than true understanding of how to generate a tonal system, the role of prime numbers in the harmonic series, the excitation series (3-5-7-12-17-31-53-...) etc., etc.
And thousands of times I have seen someone claiming that the true wonder of the octave is, that on a keyboard it spans 8 white keys and 13 halftones in total. That is really ignorant as the last key must be considered the first of the following octave. The octave interval as such in this case is really divided in 7 and 12 and it is not an even division (only in 12-TET which in the perspective of nature is not really music ;-) ).
Not least: The over emphasis on the 'golden spiral' – almost as if it was the only logarithmic spiral – has meant that if you try an image search on Google for “logarithmic spiral” you will find one single base 2 logarithmic spiral which gives us a natural rendition of how the octaves (the fundamental principle of music) are organised, whereas there is a golden overflow – page after page with 'golden spirals'.
A remarkable Octave Spiral from Popular Science Monthly Volume 11, 1877, p 701, which curiously also contains the article On the Wonderful Divisibility of Gold and Other Metals, in which we are informed that a single grain of gold may be beaten out to cover 75 square inches.
The gold of the golden section in this perspective is as thin as gold plating!
Of special interest for an Italian may be the fact that the renaissance artists used the same fundamental proportions (to which they applied the use of diagonals and half diagonals) as music in the compostion of painted works. Not the golden section!
I recommend 'The Painters Secret Geometry: A Study of Composition in Art by Charles Bouleau'.
The link below is to an article (in Danish, sorry!) about the natural organisation of musical hierachies based on the division of the octave. Tonal systems basically are generated much like plants arrange their leaves and petals. But in the case of music the golden section is not practically relevant.
http://issuu.com/skyelof/docs/ingen_roser_uden_toner
Please go to my website to listen to the CD SHAMAN VOICE
If you like to order it, please do so. I will send it to you!
www.kailani.ch
