Singing Overtones!

posted by Ruth Butterfield-Winter

OK - I know them as whistle tones or harmonics. As a daughter of a flute player, I used to hear my Mom's students practicing overtones, or whistle tones by covering all of the key holes on the flute and blowing softly with their flute embrasure, until they produced what sounded like a high pitched whistle. By blowing a little harder, they could make the whistle produce a pattern of notes above the original whistle tone. The actual notes are specific, in other words, you won't hear a diatonic or chromatic scale. You hear the original note, then the octave above, then the fifth above that, then the fourth above that, then the third above that, and so on, as pictured in this graphic here.

You've probably seen stringed instrument players; violinists, guitarists, bass players, even harpists, tune with overtones. And there are plenty of pieces written for instrumentalists that use these sound effects, if I can call them that.

But, singing overtones?

I can't find the break in my voice halfway in the middle and I don't have an voice embrasure! The words are English, but singing overtones?? That is nuts. It doesn't even make sense.

Well, while attending a vocal seminar in Monterey last Fall, Directed by The Choral Project's Artisitic Director and Conductor, Daniel Hughes, I finally found out how to produce overtones while singing.

Here's a sample of me singing overtones into my iPhone video camera!

Pretty cool huh? Can you hear the overtone series? Play it again, a couple of times. If you listen carefully, you probably will start hearing them more and more! What a fantastic way to train your ear to hear more than the average listener!

So, how did I do it? This is the way Daniel Hughes taught us, in a nutshell. Here's the secret:

• Sing a D (right above middle C on your piano)
• While you are singing the D, sing the sounds "oh - oo - er - ee"

On the site: http://www.spectralvoices.com/techniques.htm: the post suggests:

"Vowel sounds and lip shapes are important in fine-tuning the harmonics. The lowest harmonics are emphasized with tight "oo" sounds, while increasingly higher harmonics can be heard as vowels change through "oh...awe...ah...ay...ee," and everything in between."

You try it. It's a lot of fun. I intend to practice until I get really good.

Add some comments here on how you produce overtones while singing.

I am an Athlete; I sing!

posted by Ruth Butterfield-Winter

Are musicians in good physical shape?

I just came back from a 20 minute run; I need to break in my brand new running shoes. As I was running, I was thinking about this: If I am in good shape physically, will I be a better musician? The only answer I could come up with was, "Of Course!" But, why is this the case?

I remember studying piano at the Curtis Institute of Music, in Philadelphia. I was in a practice room one morning working on a difficult piece. Time flew by, partly because I was enjoying the process, but also because I needed to "woodshed" certain passages for technique. I stopped to take a break and realized that I was sweating! I was sitting down the whole time! How could I be sweating? I realized at that moment that I am an athlete!

I recently started singing, outside my shower, on a regular basis. Many times, the music requires that I sing a sustained pitch for a long time. I have noticed a big difference in my ability to produce long (in duration) tones when singing since I've started running. My body is stronger and my lung capacity is more controlled, and I don't get as exhausted after a rehearsal, as I did before I started running. I am learning to use the muscles available for singing correctly. Therefore, for me, as a singer, I am an athlete.

Musicians are athletes!

Granted, there are many musicians who don't look like marathon runners (not many members of the general population do)! However, in order to play, or sing, through 5 - 45 minutes of music without a break, you need stamina. Have you ever looked at a bass violinist's hands, or watched the abdomen of a flute player. Next time you get a chance, look at the embrasure of a brass player. Musicians are sexy defined athletes. We should have a magazine called "Musician's Illustrated" and feature the latest lips on the cover.

Talent vs. Skill

posted by Ruth Butterfield-Winter

If you had to choose between having talent or skill, what would you choose? Of course you would say, "I would rather have both." But, what if you could only have one, which would be better?

Some people are born into their talent; Both parents are doctors, the daughter might have a better understanding of medicine than a girl born of a pastry chef. And the pastry chef's daughter, most likely, will be a better cook. 'Not necessarily,' you might say, but it's possible; and does happen quite often. Let's say, the daughter of the doctor wants to learn the skill of baking. She can learn to bake and hone her skill to become a great pâtissiere.

I was thinking about talent vs. skill during our trip to Arizona. What about music? If you are saturated from an early age in music, maybe Mom played "Baby Einstein" on her tummy while you were in the womb. Or one or both of your parents were musicians, and you were born first (like me). Very likely, you would have a sense of music and have an innate talent for it. However, there is the possibility that even if your your environment, at an early age, was saturated with music, you may emerge with little or no talent. Your Mom or Dad may insist on giving you piano lessons and you just rebel, with a vengeance. But you find that you like to sing and you pursue that. Let's say, at first, people ask you to stop singing because it is so unbearable, but you're a kid and anything kids do, is darn cute. But as you get older, you just can't hold a pitch in a bucket! Can you acquire the skill to sing well?

I think you can. I believe that if anyone wants to do something bad enough, they will be able to do it. I believe that's called passion. With honest guidance from a professional and trusted teacher, an "untalented" musician can be taught the discipline of music. They can hone the skill. To develop a true ability to sing (or do anything) requires a lot more courage and push than someone needs if she has pure talent.

Superficially, talent is better. But, let's say you have the talent. If someone puts a piece of music in front of you and asks you to sing it or play it, you can easily read it or do a damn good job of faking your way through it. You have the talent to float by with minimal work. Relying on your talent is so dangerous, in my opinion. It is so easy for a person to go to rehearsals and "sight-read" every run-through. The "sight-reading" is not perfect, but it is good enough and the talent is there to make the rehearsal productive. But, what of the subtle mistakes. What of the intimacy of knowing the piece cold. Being able to make the part your own, with the control necessary, so that if nerves overwhelm you, you can fall back on the muscle memory and technique you developed in the practice room.

Yes, for me, if I had to choose between talent and skill, I would choose talent. But without skill, i.e. technique, practice, discipline, & passion; talent is meaningless.

What do you think?

ACDA - Fun in the warmth

We are marching in the light.... We had such a great time in Tucson. Some of The Choral Project members are still there. The ACDA conference will end tomorrow with a performance of Arthur Honegger's "King David" by the ASU Symphonic Chorale, NAU Shirne of the Ages Choir and The Arizone Choir, with a Guest Chamber Orchestra. It will feature one of The Choral Project's Alums, Josh Palkki! Stay tuned for more fun stuff.

The TCP Mission - what it means to me.

2010 has been a tough year so far for The Choral Project. The mission for the group is "Healing our world through music and words." This season, we have really had to live this mission. Through music and words we are healing from the loss of one of our talented and loved members, Daniel Lee Hooper, who died on January 24th after a routine surgery. The rest of the choir was rehearsing at a weekend retreat. We got the news on Sunday evening and it sent a shock throughout the choir and stunned the friends and family of those who knew Daniel Hooper. Daniel Hughes, our Artistic Director and Conductor of The Choral Project, was affected more than any, since Hooper, as I call him, was an integral part of Daniel's life. They joked together that they may be the same person in different time zones. Daniel thought of Hooper as a futuristic version of himself. They played piano duets together, they lived in the same house together, they discussed the same music, whether audibly or telepathically. So much of their lives where intertwined. I had no idea of how much I would miss him, but now that Hooper is gone, the void is overwhelming. Music, especially one of Hooper's favorite choral compositions "Musica Animam Tangens" by Joshua Shank, has played a huge part in healing The Choral Project's world and mine.

As if that is not bad enough, last Monday, February 22nd, Daniel Hughes and his partner, Keith Byron, were in a car accident on the way to a Choral Project rehearsal! A city bus smashed into them as they sat at a red light preparing to turn right. Both Daniel and Keith are OK, but Daniel sustained a gash in his left forehead and got several stitches. Both Daniel and Keith are still sore after a week. Once again, music and words play a big part in helping to heal our world.

We are now heading to ACDA in Tucson, AZ to sing, because that is what we love to do. We express our love through music. We speak words of kindness and encouragement to each other and to the world. It seems natural. It seems right.

Well Done Choirs

We are all a little nervous because of the choreography, which includes stomps, claps, yelps, marching among other things to think about. Tonight's performance was dedicated in memory of Daniel Lee Hooper, one of The Choral Project's Altos, pianist, arranger and section leader. He was also a good friend to all of the members of the group and especially close to the Director, Daniel Hughes.

The program was executed in a beautiful arch, entitled: we gather, we pray, we play, we transform and we celebrate. The choir took stage and welcomed the audience with the lively Karimatanu Kuicha, by Ko Matsushita. The choralography, by Yvonne Farrow, who worked with The Choral Project during their 2006 "One is the All" breakthrough production was stunning. The choir looked as if they wanted everyone in the audience to come to their awesome village. Then the choir transitioned gracefully into the next piece "Illumina le tenebre" by Joan Szymcko, which was mesmerizing and haunting. Beautifully executed, we could see the light from above blessing each and every one of us. The alway entertaining Willcocks "Musical Risotto" was flawlessly executed and included all of the playful touches of Denise Owen and Kelli Leuder as the dueling divas.

As a tribute to Dan Hooper, The Choral Project next performed one of the most beautiful pieces in their repertoire, which also happens to be one of Mr. Hoopers favorite choral compositions. "Musica animam tangens," written by the young composer Joshua Shank. The love of music surrounding us was palpable. Then the choir ended their set with the celebratory South African Folksong "Babethandaza." We are marching in the light of God.

We then got a real treat from the San Ramon Valley High School Treble Clef Choir. This group of beautiful, talented young ladies really charmed their audience. Directed by Mr. Ken Abrams, the TCC opened their set with "Hoj, Hura Hoj" by the Czech composer Otmar Macha. A lively piece with beautiful melodies. They then performed the Heinrich Schutz "O lieber Herre Gott" with harpsichord (patch) accompaniment. Joan Szymko was again featured on the program with "Nada Te Turbe" and then "Duerme Negrito" the beautiful lullaby written by Atahualpa Yupanqui, Argentine singer & song writer. "She Weeps Over Rahoon" is a song featured on The Choral Project's album Water & Light. It might have been difficult for some of the audience members to stifle the urge to sing along. The selection provided the back drop for a dance routine that was beautifully performed by one of the choir members. Next the Treble Clef Choir sang Two Traditional Camp Songs put together in one selection called "No Time." For the grand finale, we were treated to the uplifting gospel song "Still I Rise" sung enthusiastically and featured four of the choir members.

The Choral Project performs tonight!

The Choral Project will be performing their ACDA rep tonight, Monday, March 1st in a joint concert with the San Ramon Valley High School Treble Clef choir in Danville at 7:30 p.m. It's a free concert. Come and get a sneak peek at the exciting stuff they are doing and cheer them all on as they all get ready for ACDA in Tucson this week.

San Ramon Valley High School

501 Danville Boulevard

Danville, CA 94526