Category Archives: Anna Maria Hefele

ANNA MARIA HEFELE : Can You Do Polyphonic Singing? Develop Overtones for Your Voice

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Can You Do Polyphonic Singing? Develop Overtones for Your Voice

Anna Maria recording

Anna Maria Hefele is a highly skilled polyphonic singer from Austria who also performs with various ensembles as a specialist multi-instrumentalist.

She spoke to VoiceCouncil about her incredible talent, and explains the benefits of overtone singing for all singers.

What emotive effect can polyphonic singing have?

When people hear it for the first time they are often very moved. It is mysterious yet strangely familiar. We hear and use all sorts of different vowel shapes all throughout our lives, and the overtones are the reason why one vowel sounds quite different from another vowel.

We know that and “u” sound is very dark because we amplify the low overtones contained in the sound and filter out the higher ones at the same time, and an “i” is very bright, because the high overtones are amplified and the low ones are filtered out. So, we are connected to overtones in a complex way in our daily lives, but we are usually not doing it on a conscious level.

How did you discover polyphonic singing?     

One day, when I was 16, I was listening to a radio broadcast of a man who performed polyphonic singing. He lived locally to me so I met with him and asked if he could show me how to do it. I had a certain talent for it, but I was also so intrigued I couldn’t stop practicing.

What came first – the theory or the practical?

It goes hand in hand. By understanding how it works, you are able to do it better. It is difficult to learn or practice something if you don’t have any guidance or direction.

Are you singing the same as Tuvan or Mongolian throat singers?

The filtering process in the mouth and pharynx is the same. But, the sound production in the larynx is different. In classical voice training, you aim for a balance of air and sound where you can develop a natural vibrato. However, with overtone singing, you close the vocal cords a little bit tighter.

The throat singers do this like me, but they also add more pressure on the larynx. With this they can supress the fundamental even more, as it is their aim to make it almost unhearable.

In the western overtone singing technique I don’t use this high pressure on the larynx in order to keep my flexibility in changing quickly into classical technique, and also to have the ability of changing the fundamentals a lot, which allows my polyphonic singing style. The Mongolian throat singers usually don’t change their fundamentals. Mostly they sing overtone melodies on one fundamental which they keep throughout the song.

How important is it to have clean tone for polyphonic/overtone singing?

You need a more ‘tight’ sound in the voice than in other vocal techniques, which means I am working with a higher closing quotient in the vocal folds. This sound already contains more overtones. An airy voice will not have so many overtones to amplify. Overtone singing is about filtering overtones out of the voice out and amplifying others. But you can only filter and amplify something you put into the filter in the first place.

If I meet a breathy singer at one of my workshops, I encourage them to use the whole body for support. I make them stand in a stable way and sing whilst I try to push them (carefully) over. Automatically the voice gets stronger when the student tries to keep his stabile standing position.

Overtone singing makes you more aware of vowel shapes and vocal colours

When a singer has learnt to close their vocal cords well and developed good support, they can hold longer notes which is very helpful for developing a good filtering technique in overtone singing.

Overtone singing is all about searching for the overtones in the vowel transitions. If you’re able to hold long notes on one fundamental note, you also have more time to explore different sound colours before you run out of breath.

Do you think practicing overtones will help the voice in other ways?

Overtone singing can certainly help all singers. For example, it improves your perception for resonance; overtone singing makes you more aware of vowel shapes and vocal colours.

As well as developing vocal cord closure and sustained support, you are also able to expand your range and find higher notes because you train to have the physical power for it.

Overtone lesson 1

How could choirs benefit from learning polyphonic singing?

You can ‘tune’ the vowels of each choir member to each other to boost the same overtones inside the same voice section in the choir. It will sound more precise.

The conductor could even ask the choir members to tune their vowel to amplify a specific overtone. For a major chord for example, the section which is singing the fundamental of the chord (bass, usually) can amplify the major 3rd in the vowel for a super clean sound. This supports the female voices that sing the major 3rd as a normally sung note.

What role does the soft palate play in polyphonic singing?

I usually won’t let any air out of the nose because you lose some sound. The effect of the overtones is clearer if you lift the soft palate.

Is it easier for high voices or low voices to find overtones in their voice?

The lower the pitch, the more overtones you have. There is a cap at about G4 for filtering overtones –  it’s impossible to access overtones above this pitch, although above that there are still some, but you cannot filter them out as separate notes in the overtone singing technique any more.

What should a singer do if they want to develop overtones in their voice?

Sing long notes and play with vowels. Start with an “u” and move very slowly to an “i”, like the French “oui”. In reverse it is like the English “you”. It is a very small movement but you time-stretch it for as long as you can.

There are so many more vowels than our standard “ah, eh, i, oh, u”. You will find overtones somewhere in between these “normal” vowels. You will begin to hear overtones or feel sensations of better resoncance when you hit an overtone.


Anna Maria Hefele - photography by Ellen Schmauss

Anna-Maria Hefele is an overtone singer and voice artist. In 2014 she graduated as Bachelor of Arts in Elemental Music & Dance Education with classical singing as her main subject from the Carl Orff Institute, Mozarteum University Salzburg. Anna-Maria is a soloist as an overtone singer in different ensembles, such as “Supersonus – The European Resonance Ensemble”, “The Lady & The Cat” and “Orchester der Kulturen”. She plays nyckelharpa and harp, and builds specialist instruments. www.anna-ma

http://www.voicecouncil.com/polyphonic-singing-overtones-voice-anna-maria-hefele/

Sehnsucht nach dem Frühlinge (Mozart) – Anna-Maria Hefele

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Sehnsucht nach dem Frühlinge (Mozart) – Anna-Maria Hefele

Published on Apr 26, 2017

MRT- Aufnahmen: Prof. Dr. med. Bernhard Richter & Dr.-Ing. Michael Burdumy http://www.mh-freiburg.de/fim Anna-Maria Hefele: Gesang, Obertongesang, Harfe | http://www.anna-maria-hefele.com/ Thomas Radlwimmer: Video | http://www.radlwimmer.at/ Musik: “Sehnsucht nach dem Frühlinge” von Wolfgang Amadeus Mozart What you see in this dynamic MRI-recording is the tongue movement in the vocal tract while doing overtone singing and normal singing. The positions of the tongue forms the resoncance cavities which delete all not-wanted overtones in the sound of the voice at a certain point in time, and then amplify a single overtone that is left, which can be heard as a seperate note above the fundamental. The MRI recordings were made by Prof. Dr. Bernhard Richter, Prof. Dr. Matthias Echternach and Dr.- Ing. Michael Burdumy in the University Medical Center Freiburg, Institute for Musician’s Medicine. http://www.mh-freiburg.de/fim – thank you so much for the kind permission to use the MRI-footage in order to share this fascinating singing-insight with the world! The team of doctors in Freiburg developed a highly specialized equipment for recording and and also filtering sound in the MRI-machine. This recording is made while using a pre-produced playback on headphones in the really loud MRI-machine while lying on the back. A lot of more of very interesting MRI- and endoscopy- recordings of various singers and vocalists (classical singers, overtone singers, yodellers, beatboxers….) will be published on a DVD about end of April 2017 @ Helbling. TITLE: “Die Stimme: Einblicke in die physiologischen Vorgänge biem Singen und Sprechen” ENGLISH: “The Voice: Physiological Insights in Singing and Speaking” If you want to get INFORMED ABOUT THE RELEASE of this extraordinary DVD please SIGN UP to this mailing list: http://eepurl.com/cAYDyj in order to keep UPDATED about my activities please like my FB-page: https://www.facebook.com/amoberton and sign up for my NEWSLETTER here: http://bit.ly/1TdxQty This video is under copyright. Please feel free to repost and embedd the video while using its original YouTube-Link: https://youtu.be/d6cyHGOht58. No download & re-uploading on other websites, social networks or channels. If you want to get a license for the video or parts of it please contact me (via http://anna-maria-hefele.com/contact….) AND the copyright owners of the MRI-footage at the Institute for Musicians Medicine Freiburg (http://www.mh-freiburg.de/fim). Thanks for showing respect to the creative artist of your choice!!!

 

canon in overtonesinging by Wolfgang Saus & Anna-Maria Hefele

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canon in overtonesinging by Wolfgang Saus & Anna-Maria Hefele

 

Published on Aug 8, 2017

famous canon sung by Wolfgang Saus & Anna-Maria Hefele at the International Congress of Voice Teachers in Stockholm, 2017. Wolfgang Saus: http://oberton.org/ Anna-Maria Hefele: http://anna-maria-hefele.com/ ICVT: https://icvt2017.com/ cought on tape by Lisa Popeil 😉

 

 

Canto difónico en El Hormiguero 3.0

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Canto difónico en El Hormiguero 3.0

Ajoutée le 3 nov. 2014

Anna-María Hefele es una chica capaz de hacer dos melodías a la vez con la voz. ¿Nunca has oído hablar del canto difónico? Pues nuestro invitado Miguel Bosé, Pablo Motos, las hormigas y todo ‘El Hormiguero’ se han quedado de piedra con esta técnica vocal. Vuelve a verlo aquí.

“FOURSTYLES” | Anna-Maria Hefele | Pixners BACKstage 2015

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“FOURSTYLES” | Anna-Maria Hefele | Pixners BACKstage 2015

Ajoutée le 14 oct. 2015

Pixners BACKstage 2015 http://www.servustv.com/pixnersbackstage FOURSTYLES | Anna-Maria Hefele Januar 2015 | Ausstrahlung Juni 2015 Pixners BACKstage bei Facebook: https://www.facebook.com/pixnersbacks… Servus TV: https://www.servustv.com Produziert von: pixner productions | ammira | 2015 im Auftrag von Servus TV

 

“BY THIS RIVER” | Anna-Maria Hefele & Florian Zack | Pixners BACKstage 2015

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“BY THIS RIVER” | Anna-Maria Hefele & Florian Zack | Pixners BACKstage 2015

Ajoutée le 14 oct. 2015

Pixners BACKstage 2015 http://www.servustv.com/pixnersbackstage By this River | Anna-Maria Hefele & Florian Zack Januar 2015 | Ausstrahlung Juni 2015 Pixners BACKstage bei Facebook: https://www.facebook.com/pixnersbacks… Servus TV: https://www.servustv.com Produziert von: pixner productions | ammira | 2015 im Auftrag von Servus TV

TRAN QUANG HAI & ANNA MARIA HEFELE will present a session on the overtone singing at the La Voce Artistica 2017 XI Edition – Ravenna 26 – 29 october 2017, ITALY

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Friday will terminate with an exciting session on the harmonic singing in the East and in the West, with two eminent representatives of the genre: Tran Quang Hai and Anna Maria Hefele. Lisa Angelillo will delight us over our social dinner with her show devoted to great female stars of the past.

anna maria hefele & tran quang hai

Anna Maria HEFELE & TRAN QUANG HAI

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Anna Maria HEFELE

tran quang hai.jpg

Tran Quang Hai

https://www.voceartistica.it/it-IT/index-index/?Item=voce-artistica-2017

 

COURSES La Voce Artistica 2017

26 – 29 October 2017

La Voce Artistica 2017

XI Edition – Ravenna 26 – 29 october 2017

 

Please contact us to book your stay to eventi@ravennaincoming.it

Dear friends,

Here we are with the programme of our 11th edition of La Voce Artistica conference.

As you would remember, the conference was born from an idea of Franco Fussi in 1999, as a biennal experience unique of its kind. Drawing inspiration from La Voce Artistica, these events raised more and more interest towards voice education and professional care.

Once again this year, we are proud and excited to announce a great selection of speakers and artists, and we are confident that we will keep up with the quality level achieved in the previous edition. And this year again, as usual, the conference will be held at Teatro Alighieri in Ravenna from October 26th to October 29th.

We will start by looking at the world of neurosciences applied to the perception and production of singing, with a particular attention for the intonation, held by prestigious international lecturers and neuroscientists such as Isabelle Peretz and Per-Ake Lindestad, and with a practical approach of Paola Folli and Francesco Rapaccioli. For the first time, we will deal with performers and space, with insights into postural and osteopathic rehabilitation issues. Serena Brancale will then be the protagonist of a one-man band performance. A short session, before the evening show will include the staging of two Baroque intermezzi with Peppe Barra as a special guest, will be devoted to Baroque vocality with maestro Aldo Tarabella, the composer, director and art director of Teatro del Giglio in Lucca, and with the participation of specialists in Baroque singing such as Sonia Prina, Monica Bacelli and Francesca Lombardi.

Friday will start with a long section on singers’ health problems, from how to manage menopause, to obesity and gastroesophageal reflux, the effects of pollution on vocal health, the side effects of medicines normally used by singers, to conclude with the presentation of some devices for vocal warm-up. Speakers will be phoniatricians and teachers from Italy, Mexico and the USA.

In the afternoon, we will offer you a relaxing moment in which we will interview few artists (Karima, Alessio Boni e Pietro Ghislandi) on the subject of interpretation and imitation. The following session will be on scat, with Gegè Telesforo and Maria Pia De Vito. We also succeeded in having with us two amazing emerging vocalists from the Indian vocal culture, who attained a totally new vocal mix by merging Indian vocality with jazz and beat-box.

Friday will terminate with an exciting session on the harmonic singing in the East and in the West, with two eminent representatives of the genre: Tran Quang Hai and Anna Maria Hefele. Lisa Angelillo will delight us over our social dinner with her show devoted to great female stars of the past.

Saturday will start with a section on specific diagnostic issues, like emergency problems in singing, problems of infant choirs, diagnosis of dysodias and management of post-surgery recovery. The social role of music and singing will be dealt with in a session titled « The hidden keys of the voice », with group experiences made by people with Down syndrome, oncological patients and detainees.

During the afternoon, a practical session by Michel Cerroni, vocal coach of the first edition of Notre-Dame de Paris, will be devoted to theatre music.

A broad session focusing on a cappella singing will follow, held by speakers such as Fausto Caravati, Anna Simioni, Ciro Caravano.

The meaning and practice of modern singing will open the Sunday morning session with the participation of, among others, Franco Mussida and Red Ronnie, and with a sub-session on ear-monitors and on the importance of sound technicians. The following session will focus on some peculiarities of speech therapy rehabilitation in singing.

In the afternoon, we will learn about contemporary cultured vocality in ancient and modern singing, with artists such as John De Leo and Nicholas Isherwood.

To conclude, an animated final session on « Voice effect », on the theme of voice effects and technology for the voice.

As usual, great stuff! We look forward to having you here. Make your reservation in advance!

We’re waiting for you here, to give voice to the Voice!
Click here to visit the conference website http://www.voceartistica.it: to register, click on « REGISTER TO THE CONFERENCE« ;

Participation certificates

Exhibits attending the course are expected to be issued

Place

Teatro Alighieri
Via Mariani, 2
Ravenna

Prices

UNTIL AUGUST the 8th
Medical doctors: € 430,00 (VAT INCLUDED)
Speech therapists, singers, singing teachers, artists, physiotherapists and other professionals: € 310,00 (VAT INCLUDED)

FROM AUGUST the 9th
Medical doctors: € 550,00 (VAT INCLUDED)
Speech therapists, singers, singing teachers, artists, physiotherapists and other professionals: € 370,00 (VAT INCLUDED)

2-DAYS FEE
Thursday Oct 26 and Friday Oct 27 OR Saturday Oct 28 and Sunday Oct 29
Medical Doctors: € 300,00 (VAT INCLUDED)
Speech therapists, singers, singing teachers, artists, physiotherapists and other professionals: € 220,00 (VAT INCLUDED)
ECM (Continuing Medical Education) credits will not be assigned for these partial-participation solutions

Information

La Voce Artistica Organizing Secretariat
Ravenna Incoming Convention & Visitors Bureau

Via delle Industrie, 14 – 48121 Ravenna Italy
phone +39 0544 421247
fax +39 0544 597250
e-mail eventi@ravennaincoming.it
Posta PEC ravenna.incoming@ticertifica.it
www.ravennaincoming.it

La Voce Artistica
A site for phonetics, speech therapists, songwriters, singers … The art profession, sung and recited, is the subject of this site; From the point of view of science and art, to supplement the knowledge of medical physiology and the teaching of the song. For phonetics, speech therapists and lyrical and modern songwriters can converse and find support in their competences for a common work and 360 ° on the singer, and together to serve the voice art.

The Lady & The Cat – Somewhere Over The Rainbow

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The Lady & The Cat – Somewhere Over The Rainbow

Published on Sep 11, 2015

Anna-Maria Hefele – voice & Jan Henning – baritone guitar
http://www.ladyandcat.com
Video by Thomas Radlwimmer http://www.radlwimmer.at ⇊⇊⇊ more info: ⇊⇊⇊

please follow us at: https://www.facebook.com/theladyandth…

arrangement: baritone guitar – Jan Henning; polyphonic overtones after http://www.stuarthinds.com/

Rosary Sonata 1

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Rosary Sonata 1

Published on Aug 19, 2014

Please sign up for SUPERSONUS newsletter here: http://eepurl.com/cA8RMz

Rosary Sonata 1
H.I.F.Biber

SUPERSONUS
The European Resonance Ensemble
http://www.supersonus.eu

Anna-Maria Hefele, overtone singing
Eva-Maria Rusche, harpsichord
Anna-Liisa Eller, kannel
Wolf Janscha, jew´s harp
Marco Ambrosini, nyckelharpa, jew´s harp

Video © 2014 by Thomas Radlwimmer / http://www.radlwimmer.at