Harmonic kiss by Bach Yen & Tran Quang Hai , 01 02 2009

Harmonic kiss by Bach Yen & Tran Quang Hai , 01 02 2009

The Harmonic Kiss is the exercice to use two mouths closing together but never being touched. One mouth plays the role of producer of a fixed sound as a fundamental while the second mouth plays the role of receptor as an external resonator which amplifies the overtones and modify them by changing the shape of the lips and mouth in pronouncing vowels “o – a , o – a , o – a”  many times without making sound .

The result is that one can hear some overtones over the fundamental sound sung by the other mouth. This exercice  is used for music therapy and has been developed by Tran Quang Hai during his workshops for many years .

Published on Feb 1, 2009

Bạch Yến & Trần Quang Hải practise the harmonic kiss . It is the 3rd time they have done it.

Beautiful HARMONIC KISS by BACH YEN & TRAN QUANG HAI

Beautiful HARMONIC KISS by BACH YEN & TRAN QUANG HAI

Tran Quang Hai & Bach Yen have improved the loudness of overtones with the harmonic kiss . You can hear harmonics loudly

Filmed in Limeil Brevannes, France, on Saturday 23 May 2009

TRAN QUANG HAI : About the terminology used in overtone/undertone for the throat singing /overtone singing

About the terminology used in overtone/undertone for the throat singing /overtone singing

 

Tran Quang Hai (UMR 8574, National Center for Scientific Research, France)

 

“KHOOMEI” or “THROAT SINGING is the name used in Tuva and Mongolia to describe a large family of singing styles and techniques in which a single vocalist  simultaneously produces two (or more) distinct tones . The lower one is the usual fundamental tone of the voice and sounds as a sustained drone or a Scottish bagpipe sound . The second corresponds to one of the harmonic partials and is like a resonating whistle in a high, or very high register . We transcribe in the simplest way the Tuvan term, for the lack of agreement between the different authors :

KHOMEI

KHÖÖMII

HO-MI

HÖ-MI

CHÖÖMEJ

CHÖÖMIJ

XÖÖMIJ

 

Throat Singing has almost entirely been an unknown form of art until rumours about Tuva and the peculiar Tuvan musical culture spread in the West, especially in North America, thanks to Richard Feynman, a distinguished American physicist, who was an ardent devotee of Tuvan matters  (today, partly because of Feynman’s influence, there exists a society called „Friends of Tuva“ in California, which circulates news about Tuva in the West.

 

This singing tradition is mostly practised in the Central Asia regions including Bashkortostan or Bashkiria (near Ural mountains), Altai and Tuva (two autonomous republics of the Russian Federation), Khakassia and Mongolia . But we can find examples worldwide in South Africa between Xhosa women, in the Tibetan Buddhist chanting, in Rajasthan, and also among the Dani tribes in Papu Guinea

 

The Tuvan people developed numerous different styles . The 5 different techniques are :

Sygyt (like a whistle with a weak fundamental)

Khoomei ( general term for throat singing and a particular style)

Borbangnadyr (similar to Kargyraa with higher fundamental)

Ezengileer ( rercognizable by the quick rhythmical shifts between diphonic harmonics)

Kargyraa (with very low fundamentals obtained by undertones)

 

In Mongolia, most throat singing styles take the name from the part of the body where they suppose to feel the vibratory resonance

XAMRYN XÖÖMI (nasal XÖÖMI)

BAGALZUURYN XÖÖMI (throat XÖÖMI)

TSEEDZNII XÖÖMI (chest XÖÖMI)

KEVLIIN XÖÖMI (ventral XÖÖMI)

XARKIRAA XÖÖMI (similar to Tuvan Kargyraa)

ISGEREX (rarely used style it sounds like a flute)

 

The Khakash people practise three types of Throat singing

KARGIRAR                                 like KARGYRAA (Tuva)

KUVEDER or KILENGE            like EZENGILEER (Tuva)

SIGIRTIP                                     like SYGYT (Tuva)

 

The peoples of the Altai Mountains use three terms

KARKIRAA                                like KARGYRAA (Tuva)

KIOMIOI                                    like KHOOMEI (Tuva)

SIBISKI                                      like SYGYT (Tuva)

 

The Bashkiria musical tradition uses the throat singing  UZLAU similar to Tuvan EZENGILEER) to accompany epic song

 

The Tibetan GYUTO monks have also a tradition of diphonic chant, related to the religious beliefs of the vibratory reality of the universe . They sing in a very low register in a way that resembles the Tuvan KARGYRAA method . The aim of  this tradition is mystical and consists in isolating the 10th harmonic partial of the vocal sound.

 

IN THE WESTERN WORLD

 

There are in the literature many terms to indicate the presence of different perceptible sounds in a single voice. If you have a look at the motor of reaearch (www.google.com ) , you will be astonished by the number of websites linked to throat singing KHOOMEI . I am going to establish a listing of unmbers of sites linked to each term according to GOOGLE motor research (28 December 2003 , date of consultation of GOOGLE)

 

KHOOMEI                                   1,710 sites

KARGYRAA                                883 sites

SYGYT                                         673 sites

EZENGILEER                            141 sites

BORBANGNADYR                     129 sites

THROAT SINGING                    8,980 sites

OVERTONE SINGING               2,500 sites

DIPHONIC SINGING                     65 sites

BIPHONIC SINGING                   121 sites

OVERTONING                            615 sites

HARMONIC SINGING               901 sites

FORMANTIC SINGING

HARMONIC CHANT

MULTIPHONIC SINGING         158 sites

BITONALITY

DIPLOPHONIA                          190 sites

VOCAL FRY

 

CANTO DIPLOFONICO             27 sites

CANTO DIFONICO                     138 sites

 

OBERTONSEGANG                    256 sites

 

According to the pioneer work in the domain of the vocal sounds made by the Extended Vocal Techniques Ensemble (EVTE) of San Diego University and bearing in mind that there is little agreement regarding classifications, the best distinctive criterion for the diphonia seems to be the characterization of the sound sources that produce the perception of the diphonic or multiphonic sound

 

Following that principle, we can distinguish between BITONALITY and DIPHONIA

 

BITONALITY : in this case, there are two distinct sound sources that produce two sounds. The pitches of the two sounds could be or not  in harmonic relationship. This category includes DIPLOPHONIA, BITONALITY , and VOCAL FRY

 

DIPHONIA : the reinforcement of one (or more) harmonic partials produces the splitting of the voice in two (or more) sounds. This category includes KHOMEI, THROAT SINGING, OVERTONE SINGING, DIPHONIC SINGING, BIPHONIC SINGING, OVERTONING, HARMONIIC SINGING, HARMONIC CHANT

 

BITONALITY

 

Diplophonia :

The vibration of the vocal folds is asymmetrical. It happens that after a normal oscillatory period, the vibration amplitude that follows is reduced. There is not the splitting of the voice in two sounds, but the pitch goes down one octave lower and the timbre assumes a typical roughness. For example, assuming as fundamental pitch a C3 130.8 Hz, the resulting pitch will be C2 65.4 Hz . If the amplitude reduction happens after two regular vibrations, the actual periodicity triplicates and  then the pitch lowers one octave and a 5th. The diplophonic voice is a frequent pathology of the larynx (as in unilateral vocal cord paralysis), but can be also obtained willingly for artistic effects (Demetrio Stratos was an expert of this technique)

 

Bitonality

The two sound sources are due to the vibration of two different parts of the glottis cleft . This technique requires a strong laryngeal tension . In this case , there is not necessarily a harmonic relationship between the fundamentals of the two sounds. In the Tuvan KARGYRAA style, the second sound is due to the vibration of the supraglottal structures (false folds, aryepiglottic folds that connects the arytenoids and the epiglottis, and the epiglottis root). In this case generally (but not always) there is a 2:1 frequency ratio between the supraglottal closure and vocal folds closure. As in the case of  Diplophonia, the pitch goes down on octave lower (or more)

 

Vocal fry

The second sound is due in this case to the periodic repetition of a glottal pulsation of different frequency . It sounds like the opening of a creaky door (another common designation is “creaky voice”) . The pulse rate of vocal fry can be controlled to produce a range from very slow single clicks to a stream of clicks so rapid to be perceived as a discrete pitch . Therefore vocal fry is a special case of bitonality : the perception of a second sound depends on a pulses train rate and not on the spectral composition of a single sound .

 

DIPHONIA

 

Diphonic and Biphonic  refer to any singing that sounds like two (or more) simultaneous pitches, regarless of technique. Use of these terms is largely limited to academic sources . In the scientific literature the preferred term to indicated Throat Singing is Diphonic Singing .

 

Multiphonic Singing indicates a complex cluster  of non-harmonically related pitches that sounds like the vocal fry or the creaky voice. The cluster may be produced expiring as normal, or also inhaling the airflow .

 

Throat Singing  is any technique that includes the manipulation of the throat to produce a melody with the harmonics. Generally, this involves applying tension to the region surrounding the vocal folds and the manipulation of the various cavities of the throat, including the ventricular bands, the arytenoids, and the pharynx .

 

Chant generally refers to religious singing in different traditions (Gregorian, Buddhist, Hindu chant , etc…). As regards the diphonia, it is noteworthy to mention the low singing practised by Tibetan Buddhist monks of the Gyutö sect . As explained before , they reinforce the 10th harmonic partial of the vocal sound for mystical and symbolic purposes . This kind of real diphonia must be distinguished from resonantial effects (enhancement of some uncontrolled overtones) that we can hear in Japanese Shomyo Chant  and also in Gregorian Chant .

 

Harmonic Singing is the term introduced by David Hykes to refer to any technique that reinforces a single harmonic or harmonic cluster. The sound may or may not split into two or mor notes. It is used as a synonym of Overtone Singing, Overtoning, Harmonic Chant and also Throat Singing .

 

Overtone Singing can be considered to be harmonic singing with an intentional emphasis on the harmonic melody of overtones . This is the name used by Western artists that utilizes vowels, mouth shaping and upper throat  manipulations to produce melodies and textures. It is used as a synonym of Harmonic Singing, Overtoning, Harmonic Chant and also Throat Singing .

 

OVERTONE SINGING IN THE WEST

 

In the West , the Overtone Singing technique has unexpectedly become very popular, starting into musical contests and turning very soon to mystical, spiritual and also therapeutic applications . The first to make use of a diphonic vocal technique in music was Karlheinz Stockhausen in STIMMUNG . He was followed by numerous artists and amongst them : the EVTE (Extended Vocal Techniques Ensemble) group at the San Diego University in 1972, Laneri and his Prima Materia group in 1973, Tran Quang Hai in 1975, Demetrio Stratos in 1977, Meredith Monk in 1980, David Hykes and his Harmonic Choir in 1983 , Joan La Barbara in 1985, Michael Vetter in 1985, Christian Bollmann in 1985, Noah Pikes in 1985, Michael Reimann in 1986, Tamia in 1987, Bodjo Pinek in 1987, Josephine Truman in 1987, Quatuor Nomad in 1989, Iegor Reznikoff in 1989, Valentin Clastrier  in 1990, Rollin Rachele in 1990, Thomas Clements in 1990, Sarah Hopkins in 1990, Les Voix Diphoniques in 1997, Mark Van Tongeren in 2000, etc… The most famous proponent of this type of singing is David Hykes . Hykes experimented with numerous innovations including  changing the fundamental (moveable drone) and keeping fixed the diphonic formant , introducing text, glissando effects , etc… in numerous works produced with the Harmonic Choir of New York .

 

CONCLUSION

 

All these sounds contain overtones or tones that resonate in fixed relationships above a fundamental frequency. These overtones create tone color, and help us to differentiate the sounds of different music instruments or one voice and another

Different cultures have unique manifestations of musical traditions , but, what it is quite interesting, is that some of them share at least one aspect in common: the production of overtones in their  respective vocal music styles .

The diversity of terminology designating this vocal phenomenon shows us the interest of people in discovering overtones /undertones .The most used term is THROAT SINGING  (8980 websites linked according to GOOGLE motor of research) more than OVERTONE SINGING (2500 linked websites). This attitude is understandable because the term “Throat Singing” is the correct translation of the Tuvan and Mongolian terms KHOOMEI which means “pharynx”, or “throat”.

BIBLIOGRAPHIE : CHANT DIPHONIQUE, OVERTONE SINGING, HÁT ĐỒNG SONG THANH

CHANT DIPHONIQUE / OVERTONE SINGING / HAT DONG SONG THANH

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TRAN QUANG HAI, 2000 : ” Some Experimental and Introspective Researches on Xoomij Overtone Singing “, Proceedings WESTPRAC VII (3-5 octobre 2000), vol.1, Université de Kumamoto : 593-598, Kumamoto, Japon

TRAN QUANG HAI, 2001 : ” Voix d’autres cultures “, Cinq Sens dans un Corps, 284 : 36-37, Paris .

TRAN QUANG HAI, 2001 : ” Chant Diphonique “, Science et Conscience 2 : 42-44, Luxembourg.

TRAN QUANG HAI, TISATO, G., RICCI MACCARINI, A. 2001 : « Caratteristiche fisiologiche e acoustiche del Canto Difonico », Proceedings of II Convegno Internazionale di Foniatria , 19pages, Ravenna, Italie (to be printed)

TRAN QUANG HAI, 2002 : « A la découverte du chant diphonique », in Guy Cornut (Coordinateur) Moyens d’investigation et pédagogie de la voix chantée : 117-132, Symétie (éditions), avec 1 CDRom, Lyon.

VARGYAS, L. 1968: “Performing Styles in Mongolian Chant”, Journal of the
International Folk Music Council : 70-72, Kingston.

VLACHOU, E. 1985: Recherches Vocales contemporaines: chant diphonique,
Maîtrise à l’Université de Paris VIII-Saint Denis, sous la direction de
Daniel Charles, 90 pages, Paris.

WALCOTT, R. 1974: “The Chöömij of Mongolia – A Spectral Analysis of
Overtone Singing”, Selected Reports in Ethnomusicology 2 (1): 55-59, UCLA, Los Angeles.

ZARLINO, G. 1558: Institutioni harmoniche, Venise. (cf. Tisato, G.).

ZEMP, H & TRAN QUANG HAI, 1991: “Recherches expérimentales sur le chant
diphonique”, (voir TRAN QUANG HAI & ZEMP, Hugo).

DISCOGRAPHIE

Cette discographie sélective ne comporte que des disques compacts (CD).

GENERALITES

” Les Voix du Monde “, Le Chant du Monde CMX 374 1010-12, collection CNRS- Musée de l’Homme, 3 CD avec un livret bilingue de 188p., Paris, 1996.

TUVA

“Tuva: Voices from the Center of Asia” ,Smithsonian Folkways CD SF 40017,
Washington, USA, 1990.

“Tuva: Voices from the Land of the Eagles” , Pan Records, PAN 2005 CD,
Leiden Hollande, 1991.

“Tuva- Echoes from the Spirit World” , Pan Records, PAN 2013CD, Leiden,
Hollande, 1992.

“Tuvinian Singers and Musicians – Ch’oomej: Throat Singing from the Center
of Asia”, World Network, vol.21, Etats-Unis, 1993.

“Huun Huur Tu/ Old Songs and Tunes of Tuva”, Shanachie 64050, Etats-Unis,
1993.

“Huun Huur Tu / The Orphan’s Lament”, Shanachie 64058, Etats-Unis, 1994.

“Shu-De, Voices From the Distant Steppe “, Womad production for RealWorld,
CD RW 41, Pays Bas, 1994.

“Musiques Traditionnelles d’Asie centrale/ Chants harmoniques Touvas” ,
Silex Y 225222, Paris, France, 1995.

“Shu-de / Kongurei/ Voices from Tuva” , New Tone NT6745, (ed) Robi Droli,
San Germano, Italie, 1996.

“Chirgilchin: The Wolf and the Kid”, Shanachie Records, Etats-Unis, 1996.
“Deep in the Heart of Tuva”, Ellipsis Arts, Etats-Unis, 1996.
“Huun Huur Tu – If I’d Been Born An Eagle”, Shanachie Records, Etats-Unis,
1997.

MONGOLIE

“Mongolie: Musique et Chants de tradition populaire” , GREM G 7511, Paris,
France, 1986.

“Mongolie : Musique vocale et instrumentale” , Maison des Cultures du
Monde, W 260009, collection INEDIT, Paris, France, 1989.

“Mongolian Music”, Hungaroton, HCD 18013-14, collection UNESCO, Budapest,
Hongrie, 1990.

“White Moon, traditional and popular music from Mongolia” , Pan Records,
PAN 2010CD, Leiden, Hollande, 1992.

“Folk Music from Mongolia / Karakorum” , Hamburgisches Museum für
Völkerkunde, Hambourg, Allemagne, 1993.

“Vocal & Instrumental of Mongolia” , Topic, World Series TSCD909, Londres,
Grande Bretagne, 1994.

“Jargalant Altai/ Xöömii and other vocal and instrumental music from
Mongolia” , Pan Records PAN 2050CD, Ethnic Series, Leiden, Hollande, 1996

SIBERIE

“Uzlyau : Guttural singing of the Peoples of the Sayan, Altai and Ural
Mountains” , Pan Records PAN 2019CD, Leiden, Hollande, 1993.

“Chant épiques et diphoniques : Asie centrale, Sibérie, vol 1”, Maison des
Cultures du Monde, W 260067, Paris, France, 1996.

TIBET

” The Gyuto Monks: Tibetan Tantric Choir ” , Windham Hill Records WD-2001,
Stanford, Californie, USA, 1987.

” The Gyuto Monks: Freedom Chants from the Roof of the World ” , RYKODISC RCD 20113, Salem, Maryland, USA, 1989.
” Tibet: The Heart of Dharma/ Buddha’s Teachings and the Music They Inspired ” Ellipsis Arts 4050, New York, USA, 1996.

FILMOGRAPHIE

LE CHANT DES HARMONIQUES

http://www.canalu.com/canalu/affiche_programme.php?programme_id=1440745852&chaine_habillage=512&vHtml=0&cycle_id=&num_sequence=&largeur=1024

film en 16mm, couleurs, 38 minutes, réalisé par Hugo Zemp, co-auteurs : TRAN Quang Hai et Hugo ZEMP, produit par le CNRS Audio Visuel, Paris, 1989. Existe également en version video VHS, version française et anglaise . Contact : www.videotheque.cnrs.fr

Sites Web pour avoir des informations sur le chant diphonique

www.tranquanghai.org

www.tranquanghai.net

http://tranquanghai.phapviet.com

www.khoomei.com

www.oberton.org

 

Moteur de recherche

www.google.fr

Taper un des mots suivants : tranquanghai , chant diphonique, overtonesinging, throatsinging, khoomei, harmonicsinging, canto difonico, canto diplofonico,