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Overtone Singing - Coggle Diagram

- - - - Consistency in fundamental while changing shape through consonants and vowels.
        
        Overtone singing brings greater awareness of the vocal tract, and the ways it can be shaped by movements of vocal organs such as the tongue, lips, and soft palate. Learning overtone singing fosters experimentation in this kind of shaping as one tries to locate and project the overtones in various registers and upon different fundamental pitches. Initially, of course, some of these adjustments will be effective and others will not. As an example of the latter, putting pressure on the throat never helps to bring out the overtones, though it will most certainly affect the quality of the fundamental. Eventually one will learn what works and what does not work, and extraneous movements can be eliminated. Argument for the Investigation and Use of Overtone Singing, Hinds (34)
        
        Articulatory Awareness / Timbre
    - - How listening to bands biases your cochlea to those frequency bands
        
        snowball/packed snow metaphor. *Where Rivers and Mountains Sing, Levin (48)
        
        "Idamchap used to say that you can't make sound on a jew's harp whose tongue is broken. What he meant was that in order to produce the overtones, you first have to be able to produce the fundamental drone. Both come from the same source, unlike, for example, the bagpipes, where the drone is produced by one pipes and the melody notes by another; or the kind of drone that's used in may forms of vocal polyphony, where one singer of group of singers holds the drone while another sings the melody. "Westerners who listen to drone-overtone instruments like the jew's harp, or to throat-singing, often ignore the drone and focus only on the melody. But for Tuvan listeners, drone and overtones form an inseparable whole, and the timbre of the drone is crucial to producing a harmonically rich sound that extends over a wide frequency range. When yo are in this kind of sound space, you hear not only overtones but undertones- you can hear sound at all audible frequencies (3) If you're the sound-maker, you can use these sonic resources to imitate or represent whatever kind of sound you want. All registers and pitch heights are theoretically available. The limits to what you can hear and reproduce are physical, not conceptual."
      - In other words, discrimination of pitch height, the fundamental building block of melody and of melodic perception, didn't play a significant role for in the way this musician perceived the sound of the igil. For him, pitch was subordinate to timbre - the specific quality of a tone determined by the presence, distribution, and relative amplitude of overtones. His way of listening represented an entirely different approach to the perception of sound than what you have in cultures where the focus is on melody. You could call this other kind of listening 'timbral listening'. *Where Rivers and Mountains Sing, Levin (47)
    - - Stress Response Management