![]() One can move both fundamental and overtone lines independently, as long as each note of the overtone line is a natural harmonic of the current fundamental pitch. The author has developed a truly contrapuntal style of singing, vocally producing two musical lines simultaneously – the fundamental line and the overtone line. However, the overtone singer is not necessarily limited to a static fundamental note. In the traditional overtone-singing styles, the singer typically creates a drone-based musical texture with a melody of overtones over an unchanging fundamental pitch. This phenomenon is accomplished by altering the shape of the vocal tract in the same way one uses vowels in speech or singing. #POLYPHONIC OVERTONE SINGING SERIES#The term ‘overtone singing’ refers to techniques that allow a singer to isolate one of the natural harmonic partials in the overtone series of a sung fundamental pitch, thus making audible two discrete pitches simultaneously. The significance for singers is that overtones are the very basis of vowels, timbre, resonance, and intonation. It is the overtone structure, called the ‘spectrum’, which makes the sound of each voice or instrument unique and identifiable, and allows us to distinguish the sounds of the various musical instruments and also to recognize individual voices. The greater or lesser prominence (amplitude) of some of the overtones over the others determines the timbre, or tone color, of the note. These overtones are not normally heard individually, but they are important elements of the sound. Every musical note is actually a composite sound consisting of a fundamental tone, which is usually the pitch we perceive, combined with a number of additional pure tones above it called harmonics or overtones. There is also a list of recommended compositions for choirs using overtone singing for the first time.īefore proceeding, a brief definition of overtones and their function in music is in order.
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