![]() ![]() ![]() 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). 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. The last basic situation – which is not illustrated clearly here – is the parallel motion of the fundamental and harmonic. Last part: Counter movement again: Fundamental moves downwards, while the accentuated harmonic moves upwards. This situation is in principle not much different from the traditional Eastern forms of overtone singing. 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. 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. The first part shows an example of the harmonic frequency (reddish) being sustained, while the fundamental (here blueish) moves one step downwards. ![]() 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: Obviously we have not heard all the possibilities yet. 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. 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. It is also a question of the listeners to train their attention. 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. And it is not the first time I have come across even very trained listeners who did not perceive all levels. 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.Ī 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. Alternatively the two layers may be moved in parallel or the harmonic frequency stay fixed while the fundamental is moved. The fundamental pitch may move upwards while the harmonic moves downwards or vice versa. It comes to expression through the partially independent movements between the fundamental and the accentuated harmonics of the voice. Polyphonic Overtone singing may be considered a gem of the universal harmonic language. Underneath the text you may find links to various sources of polyphonic overtone singing and to a YouTube Playlist. ![]() They will be received with gratitude) Spectographic excerpt from Jan Heinke: Orpheo's Angel (the author is Danish so please submit your corrections of language or factual information. ![]()
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