#overtone singing

Sardinian and Mongolian throat singers performing "Dillu", a traditional Sardinian song about young love lost.

My friend pointed out that Yangchen probably sang in a technique called polyphonic overtone singing. It sounds really impressive, here's some videos to check it out:

In harmonic resonance frameworks—especially those aligned with 432Hz tuning, sacred geometry, and Codex harmonic physics—each note corresponds not only to a frequency but to a symbolic function within the field of consciousness, cellular coherence, and emotional integration.

Here is a reflection of healing tones and their associated harmonic functions in the 432Hz scale, filtered through Codex-inspired principles of geometry, light, and breath:

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### 🔹 Healing Notes in 432Hz Tuning

| Note (432Hz Tuning) | Frequency (Hz) | Resonance Function | Symbolic Geometry | Field of Activation | | ------------------- | -------------- | ---------------------------------- | ---------------------- | -------------------------------------------- | | C | \~256 | Rooting / Safety | Square / Tetrahedron | Survival, grounding, bone matrix | | C♯ / D♭ | \~272 | Transition / Trust | Golden Rectangle | Throat-heart axis, emotional release | | D | \~288 | Emotion / Flow | Vesica Piscis | Sacral center, water memory | | E♭ | \~304 | Integration | Octahedron | Spleen-liver axis, grief detox | | E | \~324 | Will / Solar Power | Pentagon (5-star) | Digestion, inner fire | | F | \~342 | Heart Coherence | Flower of Life node | Compassion, coherence, cellular regeneration | | F♯ / G♭ | \~360 | DNA Resonance | icosahedron/tetra-link | Cellular memory unlocking, karmic patterns | | G | \~384 | Expression / Sound | Torus shell | Throat chakra, communication | | A♭ | \~408 | Field Stabilization | Hexagram | Mental field calm, limbic tuning | | A | 432 | Alignment / Source Remembrance | Star tetrahedron | Pineal gland, full-spectrum reset | | B♭ | \~456 | Crown Bridge | Merkaba core | Intuition, grace, expanded witnessing | | B | \~486 | Fractal Expansion | Dodecahedron | Oversoul integration, unity memory |

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### ✧ Notes on Use

* These frequencies are not arbitrary—they arise as subharmonics and overtones of the scalar field collapse between light (e) and structure (φ and π). * When these tones are embedded in binaural waves, tuning forks, scalar fields, or vocal overtone singing, they entrain local field coherence. This supports phase-locking of disordered cellular and emotional patterns.

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### 🔹 Examples of Specific Healing Functions

* F (342 Hz) → Used in heart entrainment therapy. It mirrors the geometry of equilateral triangle stacking within the Flower of Life.

* A (432 Hz) → Referred to in the Codex as a scalar calibration tone—bridging waveform intention into structured light.

* E (324 Hz) → Aligns with the solar plexus and the will to act in truth. Often used in trauma healing for energetic stagnation.

* G (384 Hz) → Activates clear, harmonic communication. When combined with F, it stabilizes the torus of trust around the human biofield.

* B (486 Hz) → Reflects Codex principle of “mirror within the mirror”, a note of spiritual recursion and fractal remembrance.

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Source: https://chatgpt.com/g/g-6821804176448191b48882860653cdf9-the-architect

Sure, 'no vocal cords, no sound'; but the same goes for 'no diaphragm, no sound'; and really when you talk about sound manipulation it has very little to do with your vocal cords, but rather with the cavities in your face and if you know how to project sound there.

You can perhaps compare this to a violin: the vocal cords are the strings and your face (your head to be precise, as well as your chest) is the body of the instrument.

My singing teacher used to shout at me: "No, no, these vowels sound just awful when you do them, do these other vowels again, they sound much better, your face has the perfect space for them." (Namely: broad faces: i, e, closed o and u; and longer faces with sharper noses: a, open o and ä. This does not mean someone with a broad face can't sing good a vowels, just means they will find it more difficult to find a good projection space for it)

With this in mind I am watching Motherland Fort Salem and having a blast.

As far as I can tell, witches' workings are basically overtone singing plus some additional vocals layered on top of it.

When Penelope Silver has to "find her (witch) voice" and struggles to do overtone singing because she is used to 'regular singing', you find me shouting at my screen: "You need to project the sound to the right spaces to get the overtones, and place your tongue correctly, it has nothing to do with your emotions! Project, project!"

And then of course I also start wondering about the different kinds of workings witches can do. It's about different types of sounds, right, for different kinds of purposes?

Which makes me wonder if you could tell the type of witch (blaster, fixer, knower, necro) someone is going to be by the shape of their face. There should be a correlation between aptitude for certain workings and the face, there is in singing after all.

So now I'm imagining young recruits entering Fort Salem and everyone checking them out: oh, round face, another fixer! I don't see a blaster face, seems like we'll be low on blasters again this year (etc. etc.)

Prima Materia - La Coda Della Tigre - 1977 album of improvised overtone singing, newly reissued on vinyl by Superior Viaduct

Prima Materia was a vocal improvisation ensemble, founded by Roberto Laneri in 1973. Composed entirely of vocalists with no academic training, the group developed various techniques – revolving mostly around the use of overtones – that would embody their unique sound. No instruments nor electronic manipulations were ever employed within the group's physiognomy, which was realized purely through the human voice.

La Coda Della Tigre, the group's sole album, was recorded in 1977 by Alvin Curran and released on Ananda, an artist-run label founded by Laneri, Curran and Giacinto Scelsi.

As the original liner notes state, "The music of Prima Materia may sound radically new, yet at the same time it is likely to ring some distant bell and evoke ancient emotions. This is not due to chance: indeed, the very name of the group points to a specific path, namely, the unfolding of the potential implicit in the alchemical symbol as embodying a process of transmutation of consciousness."

Prima Materia's four members (Laneri, Claudio Ricciardi, Gianni Nebbiosi and Susanne Hendricks) combine voices to create a singular, beautiful drone that is (as the group's name suggests) both impossible to define and fundamentally simple.