Dear Arthur, finally I'm back from switzerland! Yes - I've played or rehearsed what will be heard in Schweden in june. We haven't perfomed the Hagen-Duet for a while ... And I have collected material for the bookstore of the LSA end of june!
I'm very sure Craigs explanation is correct. Also Matthias gave a link to tibetian and far east traditions of that kind of singing. I was told it could also be considered a traditional european technique. But you won't find any evidence. So this is just guesswork. In any case there are interesting experiments of modern composers who require this technique. Best wishes Thomas Am Fre, 2004-05-07 um 15.53 schrieb Arthur Ness (boston): > Dear Thomas, > > Enjoy Switzerland. Are you playing? > > What you describe seems to be similar to a modern woodwind technique called > "multisonics." The player plays double stops by using special fingerings > and I believe may play one note and hum the other one. > > Craig's experience is interesting. I think someone else mentioned it once > before on this list. I'd like to hear a demonstration some day, but only > if it wouldn't ruin the voice. > > Arthur. > ================FROM: INTERNET:[EMAIL PROTECTED], > Hi Arthur! > > Thanks for explaining the shape notes! And to Alain for the instructive > link! I was completely on the wrong path! > > "Obertonsingen" means a certain scale (containing just the overtones) and > way of singing (producing overtones in addition to the actual note you want > to sing). This is produced by a certain way to exclain the vowels. U has > less overtones than I. Everyone can try by himself singing one tone > "moving" from u to i and what happens with the colour and the overtones. > You may then imagine what could happen if you train your voice in a way > that the rate of overtones increase up to parity with the actual note. > Actually this sounds funny (but you need to get used to it <g>) and some > modern composers made works for overtonesinging. > > Best wishes Thomas > > > Am Fre, 2004-05-07 um 01.02 schrieb Arthur Ness (boston): > > > Dear Thomas, > > As far as I know Shape Note notation and singing is an > American invention > from around 1800, and was used primarily in singing > hymns (particularly in > southern and midwestern churches). The earliest > sytem has four syllables, > Fa, Sol, La, Mi, and is sometimes called > Fasola. Now an F major scale > would be Fa (=the note F), Sol (=G), La > (=A), / Fa (=the note Bb), Sol > (=C), La (=D), Mi (=E), Fa (=F).. > > So > the singers could identify the solmisation syllable, the music was > > notated on the usual staves, but each syllable had a differently shaped > > note head (instead of our round-shaped note heads). Fa was represented by > > a triangle, Mi with oblong circle, La with a rectangle, and Mi with > > diamond-shaped note head. > > I have never tried it, but it seems that it > would be a very efficient > method to train people who cannot read music to > sing part songs. The most > famous collection is _Sacred Harmony_ which > orignally included > Revolutionary War music by William Billings. "Amazing > Grace" first appears > > in a shape-note hymnal. > > It is still being used today and has gone > through a zillion editions. A > few years ago I even did the engravings of > some shape note music for the > Revels Songbook. > > I have forgotten how > voice tablature works. There is such a thing, but I > don't think it is > related to Fasola. > > Now you have to tell me, Thomas, what > Obertonsingen is.<g> Please. Do > you mean yodeling. That kind of > singing that Swiss people sing in the > Alps? > > Arthur. > <><> > > -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 > lautenist > autenist.de > www.lautenist.de / www.tslaute.de/weiss > > -- -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] www.lautenist.de / www.tslaute.de/weiss --
