das dieses wunderbare Forum wächst und gedeiht und dank der unermüdlichen Arbeit von Jens M. seine einziartige Rolle als obertonales Spezialistennetzwerk ausleben kann,.....es gibt so viel zu entdecken,.. wie schön......Hamburg im Februar 2013
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6. und 7. oktober 2012 in lambach: konzert in der stiftskirche lambach
10. und 11. november 2012: kurs im rahmen der ph oö in altmünster
30.november bis 2.dezember 2012: kurs im schloss puchberg bei wels
1. dezember: konzert im spiegelsaal des schloss puchbergs bei wels mit gerhard narbeshuber und laurenz schiffermüller (percussion)
15. bis 17. februar 2013: kurs in puchberg bei wels
Ensemble Ülger (Pleidades) plans to travel to Switzerland to work on new recordings in the second half of April, they come to Lake of Zurich.
https://soundcloud.com/parahybrid/gogokokoroko-para-hybrid
(english below)
Mit der "Kargyraa Krew" Kolja Simon, Felix Mönnich und Martin Pässler habe ich bereits eine Version von Gogokokoroko aufgenommen, findet sich hier: https://www.youtube.com/watch?v=aN8s7lMUCJk
Die Komposition ist Teil meines "erlogene afrikanische Erinnerungen"-Repertoires, nun habe ich eine Version alleine eingesungen, um die polyphonen und polyrhythmischen Aspekte des Stückes stärker zu akzentuieren. Das Ergebnis ist ordentlich hektisch und trashig, mir kommen Bilder von "Indien mit dem Bus" - es wird sicher nochmal konzentriertere Versionen geben, aber gerade gefällt mir das so gut.
Wie schon bei "Fek Ber" habe ich auch hier den allgemeinen Rahmen und die melodischen und rhythmischen Phrasen vorgegeben, die konkrete Auswahl aus allen möglichen Phrasen hat sich aber durch die Zufallsmechansimen in ableton live ergeben.
Gogokokoroko is one of my 'Fake african memories' compositions, I already recorded a powerful version with the 'Kargyraa Krew" Kolja Simon, Felix Mönnich and Martin Pässler (www.youtube.com/watch?v=aN8s7lMUCJk). The Para Hybrid-Version I uploaded on soundcloud emphasizes the polyrhythm and polyphony I originally had in mind when composing the track. For now I tried to make it sound like taking the bus in india - I guess I will do other versions that have less nervous energy. Like with Fek Ber, I designed the overall shape of the composition, but let the random mechanisms of the ableton live software execute the actual combinations.
https://soundcloud.com/parahybrid/fek-ber
(english below)
So, auf Soundcloud gibt´s eine Version meiner Komposition Fek Ber zu, die zur "Falsche Afrikanisch Erinnerungen"-Werkgruppe gehört, also geht es auch hier um die Verbindung von west-afrikanisch und Pygmäen-inspierierter Rythmik mit Obertongesang und Kehlgesang. Um diese Mischung aus "immer das Gleiche/immer etwas anders" zu erzeugen, habe ich zunächst alle Phrasen aufgenommen, die konkrete Kombination aber Zufalls-Mechanismen in Ableton-live überlassen, innerhalb des vorgegebenen rhythmischen Rahmens. Erneut abgespielt, würde das Set also eine andere Version ergeben - "Generative Musik" sagt Brian Eno dazu, wie ich heute gelesen habe. Freu mich drauf, das mal live mit vielen Leuten umzusetzen. Das Instrumentarium sind großteils Samples von Instrumenten von FreundInnen, ein Balafon, ein Gender (Gamelan), eine Kalimba, Schrottpercussion und einige Drumsounds aus Ableton lives Library, die Kombination der Phrasen der Melodie-Instrumente ergibt sich ebenfalls aus Zufalls-Mechanismen.
This is a composition of mine that belongs to my "Fake african memories" works. In these works I am mixing polyrhythms inspired by Pygmy and west-african music with the techniques of overtone singing and throat singing. Starting with song-type structures, after a while I realized that I wanted something less clear - I love the "always the same/always different"-impression when listening to pygmy music. So here I tried to organize the musical material in a similar manner, mimicking a group of people gathering and singing always the same phrases, but in a loose way, without discipline. To achieve this I heavily related on ableton live´s options to include chance in what is played next. I recorded all the phrases and then the software did the actual combinations within the rhythmic frame. I am looking forward to perform this live with a group of singers and musicians...
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Jens Mügge: Sound Meditations Vol. 2 - Artwork by Claudia Dose - Graphic Realisation / Design: Jens Mügge
From the Booklet:
The music of these »Sound Meditations Vol. 2« is recorded on 26th October 2012 at Ökowerk Berlin Grunewald. Like the first music album »Sound Meditations« the recordings took place in the drained water storage of the Oekowerk, now in the first room of the water reservoir. »Sound Meditations Vol. 2« is completely a self-production. Source of inspiration for this music is the unique sound space of the water reservoir – the instruments are my voice with overtone singing, two shrutiboxes, one from South India and the second from England, tuned in B-flat; a fujara, a kalimba and sansula and finally two jew's harps, a khomus from Yakutia and a marranzano from Sicily. The recordings were taken live. They are all musical improvisations, recorded just in the moment of playing. Finally, I thank Claudia Dose – www.claudiadose.com – for using one of her artworks once again. Her work »Burned Angel« is just on the same wave like I feel a deep resonance that I became the permisson to use it for the booklet and label of this music album. I wish you joy, peace and time of contemplation with the recordings of »Sound Meditations Vol. 2«
Jens Mügge Berlin – 10. Dezember 2012
Jens Mügge Berlin – 10. Dezember 2012
You can purchase this CD as MP3 download via bandcamp, iTunes, amazon or CD Baby.
The image is a screenshot. To go to the timeline: Click the link below!
Overtone singing is not only about producing sounds but more essentially to understand and develope a universal language!
I am working on the creation of a timeline presentation of the pioneers of harmonic sciences. So far it only consists of men from Europe and USA from Boethius onwards.
I have more names, specially from renaissance and antiquity, in my notebook.
But if you would like to nominate harmonic scientists for the timeline presentation, please don't hesitate to send your proposals! That would be an inspiration!
You may find the preliminary timeline on this link!
Practical tips:
- Use the display expander (below left)
- Use the period zoom (below right)
- By clicking names or windows inside the timeline contant will appear in the lower left area of the page: Links, images, videos etc.
(the author is Danish so please submit your corrections of language or factual information. They will be received with gratitude)
Spectographic excerpt from Jan Heinke: Orpheo's Angel
Underneath the text you may find links to various sources of polyphonic overtone singing and to a YouTube Playlist.
Polyphonic Overtone singing may be considered a gem of the universal harmonic language.
It comes to expression through the partially independent movements between the fundamental and the accentuated harmonics of the voice. The fundamental pitch may move upwards while the harmonic moves downwards or vice versa. Alternatively the two layers may be moved in parallel or the harmonic frequency stay fixed while the fundamental is moved.
These facets are not being utilized by the still more commonly known Tuvan and Mongolian singing styles where overtone melodies are produced on top of a sustained drone.
A few weeks ago I spoke with a talented singer who has been part of our harmonic community for years and heard several concerts with polyphonic overtone singers, and she had not even noticed this dimension of expression . And it is not the first time I have come across even very trained listeners who did not perceive all levels.
In other words: It is not only a question of the overtone singers to practice, because it is quite obvious to an attentive ear what takes place. It is also a question of the listeners to train their attention.
Denmark has very few overtone singers and hardly any polyphonic, but we have received several visits from leading polyphonic overtone singers, including David Hykes, Wolfgang Saus, Stuart Hinds, Kiva Simova and Jan Heinke.
The polyphonic aspect has been developed almost solely in the modern western overtone singing tradition, and David Hykes was probably the first to clearly describe and demonstrate its potentials.
Obviously we have not heard all the possibilities yet.
The Spectrography above shows Jan Heinke's polyphonic mastery in the piece Orpheo's Angel, where some basic situations (indicated by yellow brackets) are illustrated within a time interval of less than 10 seconds:
- The first part shows an example of the harmonic frequency (reddish) being sustained, while the fundamental (here blueish) moves one step downwards.
- Immediately after: Three harmonics accentuated from two fundamentals ( here blue-green with red-orange core) and with counter movement: Fundamental goes up while harmonic goes down.
- After the first half is an example of a sustained fundamental frequency (here blue-green with red-orange core), while the harmonic is moved first rapidly upwards, then downwards in three consecutive steps. This situation is in principle not much different from the traditional Eastern forms of overtone singing.
- Last part: Counter movement again: Fundamental moves downwards, while the accentuated harmonic moves upwards.
- The last basic situation – which is not illustrated clearly here – is the parallel motion of the fundamental and harmonic.
... and when in the introduction was written that the harmonic layer can be moved partially independent of the fundamental, it is because the fundamental in principle can slide freely, while the accentuated overtone layer will be 'locked' to the harmonic series arising from the given fundamental, and may jump from one partial to the next. When the harmonic is sustained while the fundamental moves, the movements of the latter must be picked from the subharmonic series of the harmonic (the inverted harmonic series).
However, there are many different intervals in the harmonic series (adjacent intervals become smaller as you progress in the series), and you do not need to follow the series slavishly by for example going from 8 to 9 to 10 (which would be do-re-mi), but you can also go 8-5-9 (do'-mi-re') etc.
The serpent in paradise may be that not all forms of singing do the accentuated overtones justice.
Personally, I often experience the attempt to control and master the harmonics within a limited and defined form takes the magic away from both the one as the other dimension: It may kill the soul of the sound and spoil the beauty of form. Within narrow frames the harmonics are likely to suffer: Optimally the overtones should be allowed to soar, and they should be produced by a voice which also functions well in its basis. Well, at least that is how I feel about it.
An allegory: The development of musical notation has meant incredible breakthroughs for the music of the west, but it has not been a development without costs, including sense of microtones, intonation, ornamentation, modal abundance and the expression of the free soul.
This applies to singing in general.
But more specifically the notation of harmonics in musical score, may be a little bit like performing big band jazz in the Taj Mahal: However wonderful the frame, it may simply not be the optimal setting for that sort of music!
Often it sounds to my ears somewhat intended more than felt. And one fundamental meaning of singing – and not least so when it comes to overtone singing – is to express a stream of emotion.
It is a dilemma, because I think to a large extent this very area, the polyphonic overtone singing, is where an important development can and must take place.
So I hope this article will not be taken as an attempt to keep you from polyphonic experiments, on the contrary.
And I hope along with these experiments the capacity of your voice to reflect, contain and express sentiment also will develope.
That is crucial to music and maybe to singers most of all.
Playlist from YouTube: Polyphonic Overtone Singing
... and a few links which may reflect in which directions this development may currently be heading:
Kiva Simova: Overtone Choir Scores
Stuart Hinds' book An Overtone Experience/ Eine Oberton Erfahrung. Including 15 polyphonic pieces.
Johannes Lind: 50 pieces (25 for women, 25 for male voices) for overtone singers:
Some Thoughts on Music Aesthetics and Overtone Singing. Gisbert Schürig. Debate on Overtone Music Network.
SEMINARIO
LA VOCE E LE CHIAVI ARMONICHE
CONDOTTO DA DATURA MARTINA LO CONTE
SABATO 1 DICEMBRE 2012, ORE 14.30 – 19.00
PRESSO
SCUOLA DI YOGA SHAKTI
VIA PAOLO SCHIAVO 5 R, FIRENZE (ISOLOTTO)
IL RESPIRO, CONSAPEVOLEZZA DEL CORPO E DEI CENTRI DI CONSONANZA, CANTO ARMONICO, IMPROVVISAZIONE CREATIVA, POTERE DELL’INTENZIONE NEL CANTO.
«Tutto il mondo materiale è una musica gradatamente consolidatisi, una somma di vibrazioni, le cui frequenze si allungano nella misura in cui si materializzano. Le più rapide vibrazioni sono quelle musicali. Esse costituiscono il vestibolo del Dio creatore e del punto di quiete immobile (Tao)».
MARIUS SCHNEIDER
La Voce è il nostro strumento primario e imparare liberarlo e usarlo in ‘accordo’ con il corpo è una chiave per una profonda conoscenza di sé. Le tecniche del Canto Armonico, quando unite all’intenzione e alla presenza, sono un mezzo reale per l’armonizzazione dei nostri centri energetici e per la trasmutazione delle emozioni. Nel seminario verranno presentate varie tecniche e si farà esperienza del potere delle voci sia singolarmente che nel loro insieme.
L’incontro è rivolto a coloro che vogliono esplorare nuove possibilità della voce a livello meditativo e tecnico (insegnanti di qualsiasi disciplina, attori, performer).
Non sono richieste particolari conoscenze musicali.
MASSIMO 13 PARTECIPANTI
ORARIO SABATO 1 DICEMBRE H. 14. 30 – 19.00
PER INFO E PRENOTAZIONI DEL CORSO ENTRO IL 23 NOVEMBRE:
SOURSINGER@GMAIL.COM, DATURA 3891769713
PRESSO
SCUOLA DI YOGA SHAKTI
VIA PAOLO SCHIAVO, 5/R FIRENZE (ZONA ISOLOTTO)
info@associazioneshakti.it, www.associazioneshakti.it
DATURA MARTINA LO CONTE, (Firenze, 1984), è cantante e ricercatrice in varie discipline nel campo delle arti come strumenti di conoscenza ed espressione del Sé. Ha collaborato con vari musicisti fra Italia e Portogallo in progetti sperimentali e varie discografie. La sua formazione universitaria si è conclusa nel 2009 presso il D.A.M.S. di Firenze; prosegue la sua ricerca artistica e spirituale attraverso le tecniche del canto armonico (Lorenzo Pierobon, Mauro Tiberi, Tran Quang Hai), il metodo Roy Hart (Kaya Anderson) e altre tecniche vocali sperimentali (David Moss).
Seven Liberal Arts - Music
Click the title to see the full presentation! (27 slides)
Click the title to see the full presentation! (23 slides)
The ancient Greeks had a holistic understanding of the relation between music and numbers.
The key to this understanding was harmonics, of course.
Det Springende Punkt presents:
Keys to the Harmonic Universe
(click the title)
_____
Synapse by Daniele Biccirè, Roberto Laneri, Patrizio Ligabue, Silvia Lorenzi, Marco Tonini, Veronica Vismara Vocal impro during a Laneri-Tonini overtone singing workshop in 2010, with friends Daniele Biccirè, Patrizio Ligabue, Silvia Lorenzi and Veronica Vismara. released 13 October 2012
Vocals:
Daniele Biccirè
Roberto Laneri
Patrizio Ligabue
Silvia Lorenzi
Marco Tonini
Veronica Vismara
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Recorded, mastered and produced by Marco Tonini
Album cover: Marco Tonini
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We suggest to use good headphones to feel all vocal nuances
Two people from different cities met in the summer of 2010 – Svetlana Sukhanova, a Krasnoyarsk pianist, and a jew's harp player from Irkutsk – Vladimir Markov. The jew's harp and the piano are very different-sounding instruments, but in the difference is hidden not only a certain difficulty for the performers, but also an amazing, unusual beauty, which was what prompted the musicians to come together as “1046” and to embark upon a course of creative experimentation. The name of the group, “1046,” is the distance between their two cities (in kilometers). Eventually they added other instruments to the original two – ethnic flutes, the Kalima, synthesizers. The distance does not hinder the duo and when they meet, the musicians create a multicultural space, viewing various musical environments, strata and traditions through their own worldview – which is what has found its expression in this, their first album.
www.varganist.ru
Download from tracker (Mp3,320kbps, 88Mb)
Download from tracker (FLAC)
Listen and Download FLAC or Mp3(320):
bandcamp
Dou 1046:
Dou 1046: Svetlana Sukhanova - Piano, Keyboard, Singing Bowl, Wave Drum Synth, Shaker, Kalimba
Vladimir Markov - Vargan (Jew's Harp), Native American Flute, Wave Drum Synth
Additional Musicians: Anastasiya Ilina - Vocals on Track 10
Natalia Albitskaya - Vocals and Shaker on Track 10
LA VOCE E LE CHIAVI ARMONICHE
6 – 7 ottobre 2012
PODERE BELVEDERE (RUFINA, PONTASSIEVE, Firenze)
Condotto da Datura Martina Lo Conte
Il respiro e il risveglio del corpo
consapevolezza dei centri di consonanza
canto armonico
improvvisazione creativa
potere dell’Intenzione nel canto.
La voce è il nostro strumento primario e imparare a usarlo in ‘accordo’ con il corpo è una chiave per una profonda conoscenza di sé. Le tecniche del Canto Armonico, quando unite all’intenzione e alla presenza, sono un mezzo reale per l’armonizzazione dei nostri centri energetici e per la trasmutazione delle emozioni. Nel seminario verranno presentate varie tecniche e si farà esperienza del potere delle voci sia singolarmente che nel loro insieme.
L’incontro è rivolto a coloro che vogliono esplorare nuove possibilità della voce a livello meditativo e tecnico (chi già canta gioverà di questa pratica). Non sono richieste particolari conoscenze musicali.
COSTO DEL SEMINARIO 120 EURO
PER MASSIMO 10 PARTECIPANTI
Pernottamento di una notte, cena, colazione, pranzo (tutto vegetariano) sono inclusi.
ORARI:
Sabato 6
h. 15:00 – 19:00
h. 22:00 – 23:00 (cerchio notturno)
Domenica 7
h. 10:00– 17:00
MATERIALE RICHIESTO:
- un oggetto magico da portare nel cerchio
- tappetini da stendere sull’erba
- vestiti comodi
LUOGO:
Podere Belvedere B&B Olistico,
Via San Piero a Strada 23 (Rufina)
50065 - Pontassieve
Firenze
per chi viene in TRENO servizio navetta dalla stazione della Rufina h. 14.30
PER INFO E PRENOTAZIONI ALLOGGIO/CORSO:
soursinger@gmail.com, 3891769713
PER INFO SUL PODERE
E PER PARTICOLARI RICHIESTE NUTRIZIONALI:
Cellulare: 333-1792224
fax: 055-8399044
Indirizzo e-mail: belvedere.tuscany@live.it
Datura Martina Lo Conte,
(Firenze, 1984), è cantante e ricercatrice in varie discipline nel campo delle arti come strumenti di conoscenza ed espressione del Sé. Ha collaborato con vari musicisti fra Italia e Portogallo in progetti sperimentali e varie discografie. La sua formazione universitaria si è conclusa nel 2009 presso il D.A.M.S. di Firenze; prosegue la sua ricerca artistica e spirituale attraverso le tecniche del canto armonico (Lorenzo Pierobon e Mauro Tiberi, Tran Quang Hai), il metodo Roy Hart (Kaya Anderson) e altre tecniche vocali sperimentali (David Moss).
Foto del podere:
https://www.facebook.com/media/set/?set=a.104160593045564.3081.100003548707245&type=3
http://gisbertschuerigs.blogspot.ch/2012/08/arbeiten-fur-ein-duo-programm.html
ich komm nicht so oft hier herein, wie manche bemerken werden - ich sing lieber.
aber, meine lieben obertonsängerInnen, ich lese aufmerksam und gerührt eure rückmeldungen und versuche zu verbessern, was ihr vorschlägt.
hier ein oberton- rückblick über das letzte semester:
5. märz: obertonkonzert zusammen mit gerhard narbeshuber und akos banlaky im naturhistorischen museum wien
14. und 15. april: obertonkurs in wien www.stimmwerkstatt.at
ein paar rückmeldungen:
das war einer der besten kurse, die ich jemals besucht habe an aha-effekten, lerneffekten, christkind-glühbirne-sonst -noch-effekten....
danke für deine unkompliziertheit, freundschaftlichkeit und hohe kompetenz!
danke für die einfühlsamen hilfestellungen!
13.mai: obertonkurs in wien mit dem chor choriandoli
ein paar rückmeldungen:
sehr entspannte art des lernens, ohne psych. druck, sehr witzige, humorvolle art mit sich selbst (=Julia) und anderen, bitte um ein Folgeseminar!!
Die Erfahrung des Tönens in der Gruppe ist super und öffnet und massiert die Ohren wunderbar!
ich fand sehr gut, dass du es geschafft hast, dass jeder mitkommt, auch wenn andere schon viel weiter waren.
2. und 3. juni: fortgeschrittenenkurs in wien www.stimmwerkstatt.at
feedback:
Meine Erwartungen wurden erneut übertroffen.
War wiedermal sehr schön, informativ, hab viel dazu gelernt, technisch was kapiert und gleichzeitig musik machen können. danke dir sehr!
war ein sehr schöner, feiner kurs mit ganz lieben menschen. danke!!
Please click here to check out the project/video.
About this CD:
Watching the video above, you'll see that this CD is the result of a long journey that started with my first experiences in meditation and ended, after living in a monastery and moving accross the ocean twice, with my longing to record a master musical piece that connects all these different aspects and gifts in a coherent and organic way.
In the album you will hear vocals in styles inspired by Lisa Gerrard, Lama Gyurme, David Hykes and The Harmonic Choir, the Dhrupad Indian school, the Qawwali Sufi style, and Armenian, Turk, Tibetan and South American Indigenous styles of singing.
You will hear the magical Duduk, traditional Armenian flute and instrument of the desert. People say "this flute's sound is the most similar to the human voice". An instrument with more than 2000 years of musical heritage.
You'll hear percussion instruments from Iran, Tibet, Argentina and Peru.
You will experience deep electronic music following Sasha's footsteps, and soothing string, brass and choral arrangements.
My aim is to record a sacred music album that really transforms you when you hear it. Deep, moving, and heartfelt, this music will flow like a waterfall from the ocean where all things come from. My mission is to step out of its way and let the river come across, hearing what needs to be played and letting my knowledge of all these musical instruments and the voice to express it, weaving slowly the textures and materials of songs and abstract pieces, like putting a puzzle together.
Hopefully this music will be present in Yoga classes, Meditation retreats, sacred Dance and movement sessions, healing sounds therapies, friends meetings, and in the background of everyday life, reminding us of the mystery and beauty of life.
Can you help me realize this dream?
Thank you so much!
Federico
Dear overtone singers,
my new book 'Pieces for polyphonic overtone singing' is now available. It contains 25 pieces for female singers and 25 pieces for male singers, including many folk song arrangements, some original compositions and even a polyphonic overtone-fugue. It is recommended for all singers who want to enhance their abilities in polyphonic overtone singing.
You can order it by sending me a PM or mail me at: overtone[at]fantasymail.de
best regards,
Johannes Lind
