Tantric Harmonics (Gyume Tibetan Monks)

Tantric Harmonics (Gyume Tibetan Monks)

Published on Dec 17, 2015

1. Guhyasamja (Sangwadupa – Esoteric Communion) 2. Kalarupa (Chogyal – Dharma Victor)

Tibetan monks throat-singing – Specialized form of chanting

Tibetan monks throat-singing – Specialized form of chanting


Published on Mar 5, 2013

Tibetan temple music is particularly renowned in the west for its two forms of multiphonic singing known as jok-kay (low tone) and bar-da (high tone). In both forms, each of the main chantmasters simultaneously intones three notes, thus each individually creating a complete chord. The Tibetans are one of the only cultures on earth that cultivate this most extraordinary vocal ability. This tradition is also known as “overtone singing” because it is accomplished by learning to control the muscles of the vocal cavity and then re-shaping it while singing, thus intensifying the natural overtones of the voice. In effect, the body is transformed into an effective overtone amplifier. One night in 1433, the Tibetan lama Je Tzong Sherab Senge awoke from a startling dream. In it he had heard a voice unlike any voice that had ever sounded on the planet. It was a low voice, unbelievably deep, sounding more like the growl of a wild bull than anything human. Combined with this first voice, there was a second. This voice was high and pure, like the sound of a child singing. These two voices, so totally different, had come from the same source and that source was Je Tzong Sherab Senge himself. In this dream, Je Tzong Sherab Senge had been instructed to take this special voice and use it for a new chanting style that would embody both the masculine and feminine aspects of divine energy. It was a tantric voice, a sound that could unite those chanting it in a web of universal consciousness.The next morning, Je Tzong Sherab Senge began to chant his daily prayers. The sounds that came out of him were the sounds he had heard in his dream — unearthly sounds, tantric sounds — and he gathered his fellow monks together to tell them of his dream. That year, more than 500 years ago, the Gyume Tantric Monastery began in Lhasa , Tibet . The monks of this monastery learned to chant in the same voice which Je Tzong Sherab Senge had heard in his dream. It was a voice that enabled each monk to chant three notes at the same time, creating ‘One Voice Chords’. Within that same century, another monastery in Lhasa , the Gyuto Tantric College , was founded. The monks at this fellow Tantric College also incorporated this chanting technique in their sacred rituals. For centuries the magical sounds and rituals of Tibet lay enshrouded in the mysteries of a country refusing communication with the outside world. Stories of this unearthly chanting would filter back to the ‘civilized’ world along with tales of seemingly superhuman abilities which the Tibetan monks were said to possess, but these seemed to be nothing more than myth. In 1950 China invaded Tibet. Certain monks escaped to India, where they continued their tantric rituals. Their spiritual activities remained esoteric, but certain teachers of religion and ethnomusicology were finding their tantric rituals somewhat more accessible. These scientists and scholars would come back to the West with reports of a remarkable chanting technique utilized by the Gyume and Gyuto monks. In Tibetan tantric chanting the goal of the chanting is to invoke and then unite with a particular deity or being. The monks literally become the gods and goddesses to whom they are praying. It may be that the overtones which are pronounced by the different Tantric Colleges are specific invocations to particular entities. Source: http://www.chantmaster.org This footage is part of the professionally-shot broadcast stock footage archive of Wilderness Films India Ltd., the largest collection of HD imagery from South Asia. The Wilderness Films India collection comprises of tens of thousands of hours of high quality broadcast imagery, mostly shot on HDCAM 1080i High Definition, HDV and XDCAM. Write to us for licensing this footage on a broadcast format, for use in your production! We are happy to be commissioned to film for you or else provide you with broadcast crewing and production solutions across South Asia. We pride ourselves in bringing the best of India and South Asia to the world… Reach us at wfi @ vsnl.com and admin@wildfilmsindia.com.

Throat Singing by The Gyuto Monks of Tibet • Pure Sounds • Mandala Offering – New Earth Records

Throat Singing by The Gyuto Monks of Tibet • Pure Sounds • Mandala Offering – New Earth Records

Published on Nov 30, 2010

A sample track, “Mandala Offering”, from the 2011 Grammy-nominated album Pure Sounds in the Traditional World Music category. Purchase Pure Sounds at http://www.newearthrecords.com/music-… Listen on Apple Music: https://geo.itunes.apple.com/us/album… Listen on Spotify: http://bit.ly/PureSoundsSpotify The Gyuto Monks of Tibet are masters of a deep harmonic overtone chanting, also known as throat singing. The sound has been compared to the resonance of a drum or digeridoo and is believed to have a transformative effect — removing impurities and clearing the path to enlightenment. Pure Sounds: Gyuto Monks of Tibet CD Total Album Time: 55:51 Pure Sounds – Gyuto Monks of Tibet Product Reviews “After having collaborated with the Gyuto Monks of Tibet on Kamal’s Zen Mama, we realized the importance of the pure sounds, the in-transient overtone chants and the vibration of the voices of these monks. So we decided to embark on the project of having a CD of the Gyuto Monks of Tibet without any background music whatsoever. Therefore the title Pure Sounds. It can be challenging for the Western mind to listen to and absorb directly these chanting sounds without musical accompaniment. The chanting vibrational sound is intended to bypass the mind. In Eastern culture it is recommended to listen to the sound 108 times, which is the number of beads of the mala. When you are able to listen to a mantra for 108 times, it is believed that you will reach a transformation state that is embedded in the sound and the meaning of the mantras themselves. “You really have to be deeply into chant or this is going to be lost on you entirely – especially if you have some ethnic background where you had to spend long days at your house of worship hearing non-English stuff rattled around by the old timers that looked at you sideways for not keeping up. Chant fans, this is the unsweetened, real deal.” Chris Spector Midwest Record “It’s strange to think about the music of the Gyuto Monks of Tibet being recorded and performed today. This Buddhist sect has been practicing the entrancing form of overtone-singing heard on Pure Sounds since the founding of the Gyuto monastery in the late 15th century, and the words they chant are even older. For music this age to survive both the effects of time and the political struggle that have kept the Tibetan Buddhists in exile in Dharamsala, India, for the past 50 years, it must have some special power. For those listeners who do not chant, the six Buddhist prayers on Pure Sounds retain an undeniable power. The four monks that chant on the album layer their froggy voices in undulating patterns that rattle and shake; it’s as if their voices flow straight from the center of the earth. On opening track “Mahakala,” soloist Tenzin Jigme issues a stream of syllables that are concentrated around a single pitch. His voice is grainy and percussive, as he slides diphthongs and soft consonants and large breaths into a single, gravelly flow that changes tempo imperceptibly. Every now and then a ghostly overtone can be heard shadowing his pitch an octave below. Jigme continues his mesmerizing work for 23 minutes, but it could be two hours, or three days, or an eternity; the meditative work is bound not by time or space, but by the ancient spirit that imbues every utterance. When Jigme is joined by his fellow monks, the effect of their massed drones is astounding. Four fundamental pitches, almost too low to be heard, rub against each other abrasively. They diffuse any semblance of melody across a roughshod surface. But that surface constantly shifts, like the scaly skin of some slow-moving beast. As single syllables stretch into lengthy diphthongs in dissonant harmony, words turn into texture. The pulsing vibrations that make up “Dalai Lama Long Life” submerge the ego of the single vocalist into the expanse of the collective. A heady air of spiritual sustenance lingers long after those ancient-sounding voices drop out and fall off during the track’s final seconds.” DailyOM “The Gyuto Monks are a world-renowned ensemble of Tibetan vocalists whose music acts as a window into Tibetan Buddhist spiritual tradition. The monks chant using a method called overtone chant—a deep, guttural sound with drone elements. To the novice, the chant may sound unusual. However, if you empty your mind and let the primal drone wash over you, you’ll find that the sounds are very hypnotic and mesmerizing, not unlike the multi-faceted drone of a didgeridoo. The chants are designed for healing and purification, removing internal impurities and helping one focus during meditation. Pure Sounds was named as such to reflect the fact that there is no accompanying music, this is authentic overtone chant performed by this accomplished group of monks.” Music Design

Guinness World Record for Longest Vocal Note (2005-2009)

Guinness World Record for Longest Vocal Note (2005-2009)

Ajoutée le 15 août 2007

Dean Frenkel gains the Guinness World Record for the longest continuous vocal note(57 secs)on ABC TV’s Enough Rope in 2005. This record lasted until 2009, the previous WR was 29.03 secs. While one part of Dean’s voice remained unchanged to break the world record, the other part made over 100 harmonic tonal changes in the same singing breath. Introduced by Andrew Denton. Website: http://www.myspace.com/deanfrenkel.

Throat Singer Dean Frenkel demonstrates world record attempt in Melbourne October 2012

Throat Singer Dean Frenkel demonstrates world record attempt in Melbourne October 2012

Ajoutée le 5 nov. 2012

Dean Frenkel is a throat singer from Eltham who is attempting to set a record in the number of tone changes he can sing in 30 seconds. Performed on Tuesday October 30 in Melbourne’s RMIT acoustics lab.

Sarah Hopkins ‘Remember the Joy’ for Cello, Overtone-Singing, Harmonic Whirlies and Choir Chimes

Sarah Hopkins ‘Remember the Joy’ for Cello, Overtone-Singing, Harmonic Whirlies and Choir Chimes

Ajoutée le 29 oct. 2015

More Information: http://SarahHopkins.com