Overtone Singing: The Key To Past Life Melodies
Overtone Singing: The Key To Past Life Melodies
Overtone Singing: The Key To Past Life Melodies
HE POPULARITY of overtone
singing has exploded into the
mainstream choral world in recent years, due ro Sarah Hopkins' composition, Past Life Melodies. The reaction
of audience members makes this particular piece exciting to perform. As a result,
many choirs have decided ro study the piece
and have added it to their repertoire.
The basis of Past Life Melodiesl is the
harmonic overtone series. As the composer describes in the first pages of the
score, the chord clusters making up the
majority of the piece center around the
harmonic series of the fundamental pitch,
B~. By constructing the piece in such a
way, the ears of the audience are tricked
into hearing the upper partials of the series as the sung pitches are dropped from
the choir. T his also sets up the final seccion of the piece where the choir and
soloists begin to sing harmonic overtones.
It is in this section that much of the
mystery of the piece is developed.
Unfortunately, most people are nor familiar with this technique of singing, and
as a result many choir directors and singers become confused. One should keep in
mind that the piece was originally commissioned by the St. Peter's Chorale, a
high school choir in Brisbane, Australia,
directed by Graeme Morton. Although
Lawrence Wiliford earned a B. M. from
St. Olaf College in 1999. H e is
currently a member of two profssional
ensembles: Cantus, the all-male vocal
ensemble founded at St. Olaf College,
and The Ensemble Singers of the
Plymouth Music Series of Minnesota.
H e is also a published arranger through
Earthsongs.
OCTOBER 1999
Cumberland College
Department ofMusic 7525 College Station Dr.
Williamsburg, KY 40769
1-800-343-1609 www.cumber.edu
PAGE 43
with closed vowels such as [e2] and [i] (as the sound produced should not be placed
in "eee") <sound clip>. Lower partials are far back in the laryngeal or nasal pharynx.
created with more open vowels such as It should be placed forward in the mask
the open 0 (as in "awe") <sound clip> as if smiling.
Finally, overtone singing is most effecand open E, [E] (as in the word elbow) etc.
The other part of the technique that tive when one is able to control the overmany people misunderstand is that one tones produced. This comes through
should not push down on the larynx or practice and slowly moving through the
let the tongue get caught up in the back different vowels, starting first with the
of the throat. These bad vocal techniques open vowels and proceding to the closed
cut the sound off and do not allow for vowels. As one practices this, they will be
proper resonance of the voice. In addition, able to hear the next overtone in the
------------------------------------,
MICHIGAN STATE
---------------------UNIVERSITY
choral
conducting
Graduate Programs
Master's and doctoral degrees
Choral ensembles available to graduate
conducting students
Teaching Assistantships and Scholarships
Contact:
Choral Program
Michigan State University
East Lansing, Michigan 48824-1043
517/355-2140
http://www.choral.msu.edu
-C]Charles K. Smith
Director of Choral Activities
PAGE44
CHORAL JOURNAL