harmonic overtone singing techniques

In ordinary singing, the singer generally keeps the tongue flat and the fundamental is the only clearly audible pitch. To begin singing high whistle-like overtones, the sides of the tongue are curved upward and held nearly against the upper premolar teeth - creating a seal with the roof of the mouth all the way around (with a small opening for air to pass). To try this yourself, sing "errrr" For higher overtones, move the tongue forward.

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.

While this is a basic starting point, we encourage you to listen to recordings of overtone singers, Mongolian and Tuvan throat singers and try imitating what you hear (hear 'em live too!). You will find with experience that more refined control down near the base of the tongue and in the throat allows one to amplify and isolate each desired harmonic overtone more effectively than just emphasizing tongue or vowel techniques (so the tip of the tongue needn't move to change to the desired harmonic, for example). Abdominal breath control becomes critical as one develops more demanding styles of Tuvan and Mongolian throat singing.

Try singing each harmonic overtone through the series with your mouth completely closed and keeping the fundamental as steady as possible. It's helpful to think of the vowels contained in the word "why" (ascending overtone series sequentially) and "yow" (descending) while doing this. Harmonics 2, 3 and 4 are often difficult to hear in this way (and "1" is difficult to isolate!), but it's excellent for developing subtle listening skills.