The development of a notation system for overtone music has not reached unanimous agreement as to standardization. Since the earliest composers of western overtone music started immortalizing it on paper, most of them have more or less invented their own way of conveying it.
In the late 60′s, early 70′s, both Folke Rabe and Karlheinz Stockhausen had elaborate scores that more resembled hieroglyphics to describe ‘events’.
Stockhausen did not rely on numbers of harmonics, and instead used a system of vowels according to the International Phonetic Alphabet.
Coming up to the present day, with a few more polyphonic overtone composers on the scene, it is beginning to take some shape that skilled overtone singers can follow.
The way I write has the following components:
*The overtone part, whichever range (SATB), has two staves, with the lower representing the fundamental pitches
*The upper stave represents the pitch of the overtone
*The overtone pitches have diamond shaped heads
*The numbers beneath the fundamentals represent the numbers of the overtones in the harmonic series
*The upper stave notes (pitches) are usually written one or two octaves below the actual sounding pitch. This is for convenience of sight reading, and our ears tend to perceive them as being lower anyway.
*The upper stave uses the treble clef with a small 8 above it to indicate the pitches sound an octave higher.
*In some cases, the treble clef with the number 15 above it indicate the pitches sound 2 octaves higher.
The number system used for the overtones has generally come to agreement that the 2nd harmonic is the octave above the fundamental, the 3rd is the fifth above that, the 4th is in the 2nd octave, etc.
Tuvan throat singing, as it appeared in their folk music, was never formally written down. It was not until the latter half of the past century that attempts were made to transcribe it by outside music scholars. Understandably, it was quite a difficult and obtuse representation that included numerous odd time signature changes. I’m sure that the original singers of these ‘pieces’ of music never once considered these elements.
Here’s some transcribed scores of a few of the Tuvan styles and sub- styles, with titles in Russian.
part 1
part 2
Other modern composers you can check out are:
Christian Bollmann (Germany)
Stuart Hinds (USA)
Baird Hersey (USA)
Sarah Hopkins (Australia)
And especially exciting for all you modern overtone singers (and aspiring ones) is a collection of 8 free scores of my music for overtone choir. I hope you will learn your parts (either regular or overtone parts), and join the virtual choir.
CommentWith the viral YouTube videos of Eric Whitacre’s virtual choir pieces, this technological advancement has taken the world by storm. It has now become possible to coordinate any number of singers all over the world to sing together in perfect synchronization, separately, all in the comfort of their own homes. To get involved, one only needs to follow the simple instructions. You sing your given part (according to range) along with a basic piano part while watching him conduct it, then submit your own video of your performance. He avoids a click track, as this would end up sounding too mechanical, without human feel. After compiling the best singers, he then mixes the results, and with some fancy graphic footwork and mastering technology, he uploads the results to YouTube and the rest is history.
Not to mention that his pieces are astoundingly beautiful to begin with. Everybody wants to get in on the action. The deeply moving music has a universal appeal one cannot deny.
I have great respect for this man, who has paved the way for all to follow. Yes, he is a pioneer.
Link # 1: Eric Whitacre’s site with information on instructions for virtual choir projects
Link # 2: Round Square virtual choir project
Link # 3: Oakwood virtual choir project
One thing I wish to clarify is that I feel anyone who uses the same steps in doing a similar project is not a ‘copycat’. You might be pausing right here to think that I intend to use the very same approach. Well, you wouldn’t be wrong. But what about the inventions of the telephone, the light bulb, the television, the social network? Were these mere fads? I say, if it can be done, then do it. Never mind that, with the exponential growth of technology, it will only get easier and easier.
On a more advanced level, live concerts via the internet become quite a bit more challenging due mostly to latency issues. There are actually PhD programs out there that focus on this very technology, in hopes that this type of activity will be commonplace in the future.
Link # 4: PhD research program on virtual choir technology at Manchester
There is also a concept in which guest conductors all over the world participate, being seen on a screen at a performance where a live orchestra follows along. For example, with the ‘Mad Scientist Machine’, the orchestra is responding to lit-up color cues that indicate which way to go in a structured improvisational piece. The remote conductor cues the orchestra by pushing buttons that correspond to what they want to hear from different sections. Here, latency is not an issue, but it does indicate a great leap in technology nevertheless.
Link # 5: Mad Scientist Machine project, Vancouver
That being said, there are infinite possibilities for variation here, regarding genre of music, the inclusion of various instrumental possibilities. One is only limited by one’s own imagination.
My contribution? Progressive music for overtone choir.
CommentI have a great concept which I think may revolutionize choir singing around the world.
For anyone unfamiliar with overtone singing, it is a technique whereby a single voice produces two pitches simultaneously. I’ve been teaching this technique (actually several techniques involved in overtone singing) for 20 years. Now I have a 3 level online video course. I am a composer of overtone music for choir. I direct my own overtone choir AURALIA, writing and/or arranging all the repertoire. There are elements of pop, jazz, world beat, experimental and ‘new classical’.
So, my idea goes like this. You see, my compositions usually contain lyrical content which almost any choir is capable of singing. Choir directors everywhere check out my scores. If they are interested in adding any of them to their repertoire, (or continuing along these lines) they can approach any likely candidates from their members to study overtone singing. It’s not necessary for every choir member to be skilled at overtone singing. But just a few could add an astounding new acoustical phenomenon to the choir’s sound. While the choir director leads the rehearsal of the regular lyrical parts, the overtone singers (or soloists in some cases) are being coached with special videos I create specifically for the composition in question. Then, they all get together and create this magnificent blended sound.
Think of it as the ‘IT’ factor applied to a whole group as opposed to a single artist (the plural being ‘IT’s'? Monty Python comes to mind). Think of it as the icing on the cake. And eating it too. Think of it as taking your choir up a notch.
Whenever possible, if travel permits, I can even join some of these choirs in person, as a guest conductor or overtone soloist. At the same time, I can offer an intensive workshop weekend with all the choir members.
Sound like a good idea? Let’s get started.
Here’s some examples of my scores for overtone choir.
Here’s a video- Auralia singing my overtone arrangement of Pink Floyd’s ‘The Great Gig in the Sky’.
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