Page 50 - Winter 2020
P. 50

ONE SINGER, TWO VOICES
How to Learn Overtone Singing
Producing overtones with your own voice is relatively easy. You practice singing very slow vowel transitions between the vowels /i/ and /u/ on a long-sustained drone that is kept at a constant pitch. Then, overtones start to appear quite clearly from your voice, although you might not able to hear them yet. To hear overtones in your own voice is the key to achieving deliberate control; learning to hear them is the first important part of your practice.
In this article, we have analyzed an advanced technique of overtone singing, double resonator articulation. The tongue tip is retracted and elevated in the mouth as for the American consonant /r/. This lowers the third formant and can bring it close to the second formant. As we have seen, this creates a double resonator and a double formant, which results in a strong, whistling- like overtone. To do this requires quite an accurate and simultaneous control over the front cavity for the third formant and the back cavity for the second formant. Gen- erally, it takes quite some practice to learn this technique.
A simpler start into the fascinating world of overtone singing may be to learn to enhance overtones with vowels only, with an undivided VT cavity. Then, the VT works as a single resonator, and the second formant is solely responsible for overtone enhancement. Also, this technique can be learned by very slowly changing the articulation between /i/ and /u/, keeping a drone with constant pitch. When you manage to do this, you will discern single overtones; one by one, they first increase and then decrease in loudness as they approach the second formant, pass it, and then move away from it, and soon after, the next overtone will appear and do the same thing.
After you have learned the vowel-technique well, it is mostly both exciting and not too difficult to learn the double formant technique. Then, you may want to explore the pleasure of shifting the drone pitch and so extend the melodic possibilities of overtone singing even further. If you want to learn more, see Hefele (2020)!
Acknowledgments
Bernhard Richter, Matthias Echternach, Louisa Traser, and Michael Burdumy at the Freiburg Institute of Musi- cian’s Medicine are acknowledged for their work with the two dynamic magnetic resonance imaging videos.
References
Bloothooft, G., Bringmann, E., van Cappellen, M., van Luipen, J. B., and Thomassen, K. P. (1992). Acoustics and perception of overtone singing. The Journal of the Acoustical Society of America 92, 1827-1836.
Dixit, R. P. (1990). Lingotectal contact patterns in the dental and ret- roflex stops of Hindi, Journal of Phonetics 11, 291-302.
Ericsdotter, C. (2005). Articulatory-Acoustic Relationships in Swedish Vowel Sounds, Doctoral Dissertation, Stockholm University, Stockholm, Sweden. Fant, G. (1960). The Acoustic Theory of Speech Production, Mouton,
The Hague, The Netherlands.
Fant, G. (1972). Vocal tract wall effects, losses and resonance band-
widths. Quarterly Progress and Status Report 2(3), Department of Speech Hearing and Music (KTH), Stockholm, Sweden, pp. 28-52.
Available at https://rb.gy/ugtss4.
Gill, K. Z., and Purves, D. (2009). A biological rationale for musical
scales. PLoS ONE 4(12): e8144.
Granqvist, S., Sundberg, J., Cortes, E. E., Larsson, J., and Branderud, P. (2003).
The front and sub-lingual cavities in coronal stops: An acoustic approach to volume estimation. Proceedings of the 15th International Congress of Phonetic Sciences, Barcelona, Spain, August 3-9, 2003, pp. 941-944.
Hefele, A.-M. (2020). Anna-Maria Hefele’s Website www.overtone.academy, Available at: https://rb.gy/yplwko. Accessed: October 12, 2020.
Kob, M. (2004). Analysis and modelling of overtone singing in the sygyt style. Applied Acoustics 65 1249-1259.
Krull, D., and Lindblom, B. (1996). Coarticulation in apical con- sonants: acoustic and articulatory analyses of Hindi, Swedish and Tamil, Quarterly Progress and Status Report 2, Department of Speech Hearing and Music (KTH), Stockholm, Sweden, pp. 73-76. Available at https://rb.gy/ugtss4.
Ladefoged, P., and Maddieson, I. (1986). The Sounds of the World’s Languages, Blackwell, Oxford, UK.
Liljencrants, J., and Fant, G. (1975). Computer program for VT-reso- nance frequency calculations, Quarterly Progress and Status Report 4, Department of Speech Hearing and Music (KTH), Stockholm, Sweden, pp. 15-20. Available at https://rb.gy/ugtss4.
Lindestad, P.-Å., Södersten, M., Merker, B., and Granqvist, S. (2001). Voice source characteristics in Mongolian “throat singing” studied with high-speed imaging technique, acoustic spectra, and inverse filtering, Journal of Voice 15, 78-85.
Moore, B. C. J. (2012). An Introduction to the Psychology of Hearing, Emerald Group Publishing Ltd,. Bingley, UK
Smith, H., Stevens, K., and Tomlinson, R. (1967). On an unusual mode of singing by certain Tibetan lamas. The Journal of the Acousti- cal Society of America 41, 1262-1264.
Sundberg, J., and Lindblom, B. (1990). Acoustic estimation of the front cavity in apical stops The Journal of the Acoustical Society of America 88, 1313-1317. Wendler J., Dejonckere, P. H., Smit, P. H., and Cebulla, M. (1991).
Overtone singing in the view of Manuel Garcia. Proceedings of Con- ference “New Ways of the Voice,” Service ORL et Audiophonologie, Besancon, France, February 14-17, 1991, p. 46.
      About the Authors
 Johan Sundberg jsu@kth.se
Department of Speech Music
and Hearing
Royal Institute of Technology (KTH) SE-100 44 Stockholm, Sweden
Johan Sundberg studied musicol- ogy at Uppsala University (Uppsala,
 50 Acoustics Today • Spring 2021






























































   48   49   50   51   52