Det Springende Punkt

presents
Keys
to unlock the secrets
of the harmonic series
and overtone singing
 From the perspective of the harmonic series music is the language of integers
- its atoms and molecules are primes and compounds of primes
One winding of the octave spiral corresponds to one octave – we return to the same quality on a
new pitch level:
1-2-4-8-16-... are octaves of the fundamental. 3-6-12-... are octaves of the perfect fifth.
5-10-... are octaves of the just major third. Etc.

1:2 First octave: 1:2 octave.

2:4 Second octave: 2:3 perfect fifth; 3:4 perfect fourth.
4:8 Third octave:
4:5 just major third; 5:6 just minor third; 6:7 septimal third; 7:8 septimal second.
8:16 Fourth octave: 8:9 major whole-tone; 9:10 minor whole-tone;... 15:16 major semitone.
etc.
The correspondences between tone, body resonance and phonetics should not be interpreted too
rigidly! In this example the harmonic series springs forth from a deep G but naturally any tone in any
pitch will carry the harmonic series with it. What is invariable is the sequence of intervals between the
elements – the simple integer relations of time and space (frequency and wavelength).
The body is a very complex resonance system, so you may also find resonance for deep tones high up in
the body and conversely. But generally: Deep tones ~ 'down', high tones ~ 'up', as indicated intuitively in
the language.
The vowel sounds can be generated artificially by a compound of two or three frequencies but by overtone
singing you may accentuate elements from the harmonic series by shaping the vocal tract to positions
similar to vowel pronunciation. Please notice again that the correlation is not absolute: You may be able to
accentuate the harmonics with different vowel qualities depending om voice type, pitch etc.
Generally the lower elements of the harmonic series are accentuated at the same regions of the vocal tract as
the rounded back vowels, whereas the higher elements correspond with the front vowels.
To accentuate distinct overtones demands mastery of the tongue as a precision instrument.
The integers indicate multiples of the frequency of the vocal folds.
Please bear in mind that overtone singing technique is not limited to the vocal tract. A complex interaction
between abdomen, chest and throat musculature, breathing and body posture is essential.
It is a great advantage to become aware of the
three areas of the vocal tract where you may
fundamentally widen or narrow the passage
of the sound waves emitted by the vocal
folds:

Between the lips: m

Between the tip of the tongue and hard
palate: n
Between the back of the tongue and
soft palate: ŋ
By consciously opening from these humming
sounds into open vowel sounds you may
accentuate the elements from the harmonic
series very distinctly.

The overtones – like the flageolet tones on a

string instrument are created at the shorter
part of the divided sound wave (string). That
is between the point where the passage has
been narrowed and the lips.
A vibrating string gives rise to a range of simultaneous frequency
conditions.
Imagining using a finger against a fretboard to divide the string in
smaller fractions, the 1/1, 1/2, 1/3, 1/4, 1/5 and 1/6 (bold) markers
indicate the points of natural harmonics of the string.
Furthermore you may find other fundamental musical functions.
Here is only shown a part of the full picture as we have set the limit to 6
out of a potentially endless number of elements.
The bowed lines of these illustrations do not The just intervals:
indicate a vibrating string but interval relations 1:2 octave
(italic) between elements of the harmonic series 2:3 perfect fifth
(upright figures). 3:4 perfect fourth
The length proportions refer to the size of the 4:5 just major third
interval. 5:6 just minor third
Here the harmonics #7 and #11 have been omitted 8:9 major whole-tone
because the interval names refer to tonal systems 9:10 minor whole-tone
(Pythagorean, just tuning, equal tempered etc.) 3:5 just major sixth
where these nature tones do not have a place but 5:8 just minor sixth
actually sound out of tune in the context. 5:9 just minor seventh
The vowel mandala is a
map for singers giving an
organic structure to the
various sounds which can
be used in the rhythmic
language (primarily the
plosives), for humming
(the nasals) and for
producing sound colour
(the vowels).
The lastly mentioned are
here represented by
initials of Danish girls
names.

The three fundamental

organic sequences can be
practised in either
direction with long
sustained tones.
Going from the open [ɑ] in
the center they all converge
towards the nasals.
The vowel mandala was not introduced in an attempt to
replace the standard IPA phonetic chart, which is here for
reference.
Another diagram elucidating the close
correlations between music and speech.
It shows the formation of the Swedish
vowel sounds as a result of two
dominant frequencies.
(from Johan Sundberg: Röstlära)

The formants are not only resonance

frequencies but are also linked to the
degree of opening or narrowing
particular areas of the vocal tract -
incarnating music!
English is missing the term 'klang' which in German and Scandinavian languages indicates the quality
aspect of any sound - which may be conceived as the sum of its overtones.
Overtone singing forms a unity of three very fundamental fields of knowledge essential to
consciousness as such.
Tone is making a braid out of time (frequency) and space (wawelength) according to the formula for the
correlation between the two aspects: f x λ = c
Here f is the frequency of the tone, λ is its wawelength and c is the constant of velocity of sound wawes
in air at about 20oC ~ 340 m/s
Albrecht Dürer (1471-1528) who was active in
Nuremberg made this proportion study of the human
anatomy.
Do notice the measure at the far left - the proportions of
the harmonic series:
1/1- 1/2- 1/3- 1/4- 1/5-...

Dürer's masterly hand is also behind the sketch pasted

into the note system at the fourth page of this
presentation.
Links to more information and
listening experiences:
www.overtone.cc
www.overtonesang.dk