Week Four - Thinking about Pitch

Vocal Overtones

When we hear a pitch, we often hear or focus on the pitch that is played or sung, known as the “fundamental tone.” Yet, there are many other pitches that “ring” over the fundamental tone, called overtones. Sometimes, these overtones are focused so that one note is heard over the others, producing an almost whistling tone. It seems that two notes are being sung or played at the same time. This article will focus on overtones that are created by the human voice. It is worth noting that instruments can create overtones as well. Overtones are used throughout the world more often than people may first believe. People will integrate throat singing or overtones into their culture and make it part of their way of life.

The overtone scale is made up twelve tones.

There are numerous types of throat singing or overtone singing throughout the world.  Many people only believe throat singing to be found in Central Asia, however, there are the Inuit people of northwestern Alaska and Canada who perform throat singing as well.  When throat singing properly, it is successful at creating numerous harmonies all at once with the voice.  Throat singing is a very special skill that contains specific techniques that are taught.  It involves specific ways one must set the tongue, jaw, larynx, and lips to create the ideal sound and capability of creating the right timbre and harmonies.  Throat singing also has a drone-like quality to it, which means, “a widespread manner of performing a single melody with a pitched but non melodic part it is put over- a sustained tone” (Wade 129).  Cultures such as the nomadic Tuvans and Mongolians, make overtone singing an essential part of their lives.  The Republic of Tuva is located in rural Russia and northwest of Mongolia. As a result, the two cultures are closely related in many of their traditions and ways of life.  Tuvans call their throat singing Khöömei, which uses a circular breathing motion similar to the way the didjeridoo is played by the Aborigines of Australia.  This type of breathing allows the performers to sustain notes for long periods of time.  There is an apprenticeship system established in their culture where children start learning the art at a fairly young age.  As a result, the men who learn to sing this way truly are masters in their craft.  The men then incorporate aspects of their lifestyle into their music.  Their culture is extremely centered on nature and their relationship with nature so the songs created will reflect this connection.  The Tuvans will imitate sounds around them such as, mountains, river, and animals while they sing.  So some songs might sound higher in pitch if they are referring to birds singing or lower in pitch if they are singing about the strength and power of the mountains.  Here is also a video of Huun Huur Tu which is a professional throat singing group out of the Republic of Tuva:

https://youtu.be/i0djHJBAP3U?t=16m23s

Mongolians are very similar to Tuvan throat singing , however, many of the Mongolians techniques are acutely different.  Some tribes, such as the Bait in Mongolia, use a style called “the root of the tongue” which makes the sound farther back in the mouth. This is unlike the Khalkha tribe, who make a more nasal or glottal sound.  Here is a video of the highly trained Mongolian throat singer Batzorig Vaanching playing his horse hair fiddle:

While Tuvans and Mongolians techniques are different, throat singing is an enormous part of both of cultures.

Western culture has created their own type of throat singing that is different from Mongolian or Tuvan throat singing. Instead of affecting the timbre or adding tension to the throat, singers use their natural, healthy singing voice and adjust how they shape the vowel to create overtones. One common way to start singing overtones is to slowly transition from the vowel “oh” to the vowel “ee,”or any other two vowels. Here is a video of a Western overtone singer exhibiting her talent:

Sometimes, artists who are able to overtone sing will perform together, such as David Hykes and the Harmonic Choir. David Hykes was one of the first Western artists to pioneer overtone singing. Here is an example:

Other forms of choral music use overtone singing. One popular song is Sarah Hopkins’ “Past Life Melodies.” It is based off of the traditional aboriginal music of Australia. Here is a recording of the male choir Chanticleer singing this song. The overtones come in about halfway through the song:

Another type of overtone is created when choirs sing exactly in tune. For example, in Whitacre’s “When David Heard,” the choir sings exactly in tune so that it seems like the sopranos are singing a high C the first two times they sing “O, my son.” The third and fourth time they sing it, they sing a high C to give a sense of resolution. Listen to the segment of the song here:

https://youtu.be/G2ZKKXCuaYc?t=9m46s

As shown, singers use overtones in a variety of ways, in many cultures. Overtones are arguably one of the most fascinating aspects of the human voice.

Logan Kropp completed the research and writing on western overtones while Sierra Marsh completed the research on Mongolian and Tuvan throat singing.  

Works Cited

Hinds, Stuart. "How To Teach Overtone Singing To Your Choir." Choral Journal 51.3 (2010): 34-43. Academic Search Complete. Web. 4 Oct. 2015.

"Khusugtun." Khusugtun. N.p., n.d. Web. 04 Oct. 2015.

Pegg, Carole. "Throat-Singing." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 04 Oct. 2015.

"Throat Singing." Smithsonian Folkways. Smithsonian Institution, n.d. Web. 04 Oct. 2015.