Monthly Archives: January 2015

10 years Muziekpublique | Raphaël De Cock : Improvisations on Tuvan throat singing , BELGIQUE


Ajoutée le 13 juin 2012

Raphaël De Cock unveils here a series of techniques typical of throat and overtone singing from Tuva, a region in Southern Siberia. You hear a suite of improvisations: a deep growling style of throat singing (Kargyraa), a technique that brings to mind the Jew’s harp or the didgeridoo (Khöömei), a style that makes waves like water (Borbangnadyr) and one with overtones that whistle (Sygyt).

Raphaël was 16 when he first heard Tuvan singers on the radio. As a Jew’s harp- and Uilleann pipe- player, he noticed that their singing techniques worked according to the same drone principle as his instruments — and so soon he started to look into making these sounds himself. After years of practice, with occasional refinements from Tuvans, visiting for concerts or encountered on his travels, he has perfected the art of overtone singing. The very same vocal techniques are used in Sardinian polyphonic choirs — and these are another of Raphaël’s passions. He uses his throat singing (traditional and his own styles), innovations, improvisations and tones in various groups: Osuna, NadiSuna, GRIFF, Northern Lights, and the cine-concert project ‘Odna’. He also gives singing lessons at Muziekpublique.

Raphaël De Cock dévoile une série de techniques typiques de chants de gorge et chants diphoniques de Touva, une région dans le sud de la Sibérie. Vous entendez une suite d’improvisations : un style profond de chant de gorge grognant (kargyraa), une technique qui rappelle le son des guimbardes ou didgeridoos (Khöömei), un style qui ondule comme l’eau (borbangnadyr) et un avec des diphonies qui sifflent (sygyt). A l’âge de 16 ans Raphaël a pour la première fois entendu les chanteurs tuvains à la radio. Comme joueur de guimbarde et de cornemuse (uilleann pipes), leurs techniques de chant — selon le même principe de bourdon que ses instruments — a fortement attiré son attention et bientôt il a commencé à chercher à les produire lui-même. Après de nombreuses années de pratique et des ajustements occasionnels par des chanteurs tuvains en visite pour des concerts, ou pendant ses voyages, il s’est perfectionné dans les chants diphoniques. Les mêmes techniques vocales de gorge sont également utilisées en polyphonie sarde, une autre passion de Raphaël. Raphaël utilise le chant de gorge, traditionnel ou des techniques auto-inventées, les improvisations et les timbres dans différents groupes : Osuna, NadiSuna, GRIFF, Northern Lights, cineconcertproject “Odna”,… Raphael donne également des cours de chants chez Muziekpublique.

Raphaël De Cock geeft een reeks van typische keel- en boventoonzangtechnieken ten prijs uit Tuva, een streek in Zuid-Siberië. U hoort een improvisatie met achtereenvolgens een diepe brommende keelzangstijl (kargyraa), een techniek die doet denken aan de klank van mondharpen of didgeridoos (khöömeï), en een stijl die kabbelt als water (borbangnadyr) en één met fluitende boventonen (sygyt). Raphaël hoorde op 16-jarige leeftijd de eerste keer Tuvaanse keelzangers op de radio. Als mondharpspeler en beginnend doedelzakspeler (uilleann pipes) trokken deze zangtechnieken – met hetzelfde bourdonprincipe van deze instrumenten – sterk zijn aandacht en algauw begon hij er zelf naar te zoeken. Na vele jaren oefenen en occasionele bijsturing door Tuvaanse zangers, hier op bezoek voor concerten, of op zijn reizen, leerde hij en schaaft hij nog voortdurend zijn stem bij.
Dezelfde keelstemtechnieken worden immers ook gebruikt in Sardische polyfonie waar Raphaël gepassioneerd mee bezig is. Raphaël gebruikt keelzang, zowel traditionele als meer zelfuitgevonden technieken, improvisaties en timbres in verschillende groepen, o.a. OSUNA, NadiSuna, GRIFF, Northern Lights, cinéconcertproject “Odna”. Raphaël is ook leraar zang bij Muziekpublique.

Image: Rafael Serenellini, Justine vande Walle, Zeno Graton
Sound : Cédric Plisnier, Arthur Benedetti
Production : Jacoba Kint, Morgane Mathieu
Technical coordination: Mathieu Alexandre
English translation: Owen Thomas McEldowney

“A Song a Day: World Tour in Music and Images”:…………

JOLENE CREIGHTON : Overtone Singing: The Science Behind Singing Multiple Notes At Once (VIDEO)


Overtone Singing: The Science Behind Singing Multiple Notes At Once (VIDEO)

Image credit: Pinoy

This video has been making the rounds recently. It’s a neat little example of a thing called “overtone singing,” which is also known as “throat singing.” When you first hear it, it may seem like it must be a talent that is only granted to a rare few, but it is actually a technique that nearly anyone can learn. As singer Anne-Maria Hefele states, “overtone singing is a voice technique where one person sings two notes at the same time.” This is accomplished by manipulating the placement of your tongue and the shape of your mouth. Such manipulation produces a low note and a high note.

The low note is known as the “fundamental, ” and it is the usual tone of the voice (when preforming overtone singing, this low note sounds like a sustained drone or a Scottish bagpipe). The high note sounds like a resonating whistle.

At first glance, overtone singing might not seem like it involves any physics, but it’s actually firmly linked to this Science (at least in the Western world). Piero Cosi, senior researchers at the Institute of Cognitive Science and Technologies, states that overtone singing made its way to the West thanks to an American physicist known as Richard Feynman (one of the father’s of quantum mechanics). When tracing its history, Cosi asserts that, “Throat-Singing has almost entirely been an unknown form of art until rumours about Tuva [which is a is a federal subject of Russia] and the peculiar Tuvan musical culture spread in the West, especially in North America, thanks to Richard Feynman, a distinguished American physicist, who was an ardent devotee of Tuvan matters.”

According to William R. Corllis, many birds can also produce simultaneously two tones that are not harmonically related. Notably, these birds have a special double-barreled organ, which is called the “syrinx,” that enables them to preform this feat. In humans, the process works a little differently. Jim Cole, over at Spectral Voices, notes that, for overtone singing, performers start by following these simple guidelines:

To begin singing high whistle-like overtones, the sides of the tongue are curved upward and held nearly against the upper premolar teeth – creating a seal with the roof of the mouth all the way around (with a small opening for air to pass).  To try this yourself, sing “errrr”  For higher overtones, move the tongue forward. Vowel sounds and lip shapes are important in fine-tuning the harmonics.  The lowest harmonics are emphasized with tight “oo” sounds, while increasingly higher harmonics can be heard as vowels change through “oh…awe…ah…ay…ee,” and everything in between.

Cosi breaks down the science, “the tongue is raised so to divide the vocal tract in two main resonators, each one tuned on a particular resonance. By an appropriate control, we can obtain to tune two separate harmonics, and thereby to make perceptible, not one but two (or more) pitches at the same time.” In the below video, Hefele demonstrates how to do this, and what it should sound like when you are doing it correctly. Of course, it should be noted that Hefele has been training for years (she has been studying the technique since 2005), so you shouldn’t expect results like this any time soon. (The most amazing parts occur around 3:25).

WATCH: Overtone Singing—Singing Multiple Notes At Once

READ NEXT: NASA Records The Sounds of Space

BRUCE MANAKA: Learning Overtone Singing for Accessing the Higher Self


Learning Overtone Singing for Accessing the Higher Self

The following techniques are guidelines to help you get the feel and sound of the high, medium and low register overtones. Once you are familiar with the sounds and comfortable in creating the overtones, you will discover your own techniques and unique sounds to explore. These techniques should in no way strain the vocal cords. In fact, the quality of the voice and breathing capacity should improve with practice. Have fun with the techniques! Remember, no forcing or straining. The overtones come when you are deeply relaxed!

Higher Register: the harmonics sound similar to high whistling.

  • Tip of tongue behind the upper front teeth
    Make small movements with the lips and tongue to get the overtones vibrating.
  • EE as in “year”
    Listen especially during the transition between the “y” to “ee” sound, and then from “ee” to “rr” sounds.

The listening part is most important. Take note of how the sound changes with very slight movements in tongue position. Experiment with volume (low to high). The EE sound corresponds to the spiritual eye and crown centers. Pay attention to these areas as you practice.

It is also important to note that you are already creating harmonics with your voice. This is what makes your voice unique. The techniques you are learning are just ways to tune into and magnify certain notes or “partials.”

Mid Register: the harmonics sound like ethereal flutes.

  • OH as in OM
    Lips slightly round and tongue flat on bottom of mouth and slightly pulled towards back of throat. Visualize small grapefruit expanding the space in the mouth. The sound of OH corresponds to the root chakra (at base of spine), giving a sense of grounding and connection with Earth energies.
  • UU as in “you.”
    With slightly round lips, sing UU and then move the tongue slightly and slowly forward. Listen to the changes in harmonics. Repeat. Again, experiment with volume. The sound of UU corresponds to the throat area, the seat of creativity and expression.

Lower Register: The harmonics sound guttural (similar to Tibetan Buddhist chanting). The lower register can also sound like low notes of a flute or like someone blowing sideways on the opening of a bottle. The harmonics are produced in the back of the throat in general but can also be produced throughout the mouth with practice.

  • OH as in “OM”
    Relax the throat and open up the back of the throat and nasal passages. As you tone the sound of “OH” create a cavity in the mouth (visualize the grapefruit) and push air out through the mouth and nasal passage. This takes a bit of practice. Experiment with going back and forth with pushing air out mostly through the mouth and then a combination of through the mouth and nose.

Sound of motor: with lips closed (no air going through), make the sound of a motor (kind of like a sawing sound) high in the nasal cavities. When you get this sound, try opening the mouth to add overtones from the expanded space.

In practicing the upper, middle and lower range harmonics, keeping the nasal passages open and allowing some air and vibration to pass through this area is a great help in producing the harmonics. In the beginning, however, it may not feel natural and so to get a feel for this, practice with mouth closed for a little while. Hum through the nose and listen to each of the aforementioned sounds.

With time and practice you will learn to hear a wide range of harmonics and will begin to project greater energy in sounding out different overtones at the same time. You will then be able to create your own unique combinations of overtones that will help you towards a greater sense of well being and balance.

Have fun with your practice and let me know how you are coming along.

Bruce Manaka

Whistled language of the island of La Gomera (Canary Islands), the Silbo Gomero


Uploaded on Sep 25, 2009

UNESCO: Representative List of the Intangible Cultural Heritage of Humanity – 2009
Description: The whistled language of La Gomera Island in the Canaries, the Silbo Gomero, replicates the islanders habitual language (Castilian Spanish) with whistling. Handed down over centuries from master to pupil, it is the only whistled language in the world that is fully developed and practised by a large community (more than 22,000 inhabitants). The whistled language replaces each vowel or consonant with a whistling sound: two distinct whistles replace the five Spanish vowels, and there are four whistles for consonants. The whistles can be distinguished according to pitch and whether they are interrupted or continuous. With practice, whistlers can convey any message. Some local variations even point to their origin. Taught in schools since 1999, the Silbo Gomero is understood by almost all islanders and practised by the vast majority, particularly the elderly and the young. It is also used during festivities and ceremonies, including religious occasions. To prevent it from disappearing like the other whistled languages of the Canary Islands, it is important to do more for its transmission and promote the Silbo Gomero as intangible cultural heritage cherished by the inhabitants of La Gomera and the Canary Islands as a whole.
Country(ies): Spain
© 2008 by Juan Ramón Hernandez y David Baute. Gouvernement des Canaries

Saruul 2009 en La Jungla Sonora de Radio Euskadi , MONGOLIA


Uploaded on Apr 5, 2009

Saruul es un músico y cantante de Mongolia, especializado en el canto armónico khoomi y en el morin khoor, que dedica esta canción a su padre. Saruul nos ha visitado como invitado especial de grupo de txalapartas Oreka Tx durante su amplia gira por los teatros vascos. La canción se grabó en los conciertos de La Jungla Sonora de Radio Euskadi el pasado 2 de febrero de 2009 y se emitió al día siguiente.

Khoomii Demonstration by Saruul , MONGOLIA


Uploaded on Nov 23, 2009

Saruul is a Mongolian throat singer. Mongol Khoomii (throat singing) is a vocal art imitating sounds from nature. Saruul demonstrates some techniques of Mongolian throat singing, which is able to imitate mountains, steppes, water, wind and animals. We can hear for example a dog or a yak.