For the Overtone Singing Video Workshop please visit the > SHOP

Are you a workshop organizer or choral conductor? If so, I’d love to hear from you if you want to invite me as a teacher for one of the courses described below! 🙂 Get in touch by email: or:


Overtones exist in all sounds, including your voice. Sound is formed by combining different frequencies. The fundamental is the lowest, while the higher frequencies are known as overtones.

Overtones play a crucial role in vowels and sound colors in both singing and speaking. In Overtone Singing, individuals learn to enhance specific overtones by singing slow vowel transitions on a sustained note. This technique is also known as the “vowel-overtone-technique” and is the initial step in learning overtone singing.

Depending on the level and progress of the workshop participants, also the “tongue technique” will be covered. Using this technique, the overtones can be almost as clear as a flute above the fundamental.

With overtone singing, you can playfully interact with your voice and expand its expressive capacity. It enhances perception of intonation, sound, and sound colors and improves body awareness.

This workshop is open to anyone interested in exploring innovative approaches to the voice. Although not mandatory, having previous knowledge of reading notes or foregoing vocal training can be beneficial.

Each participant in our workshops receives individual feedback and attention.


What can I do to improve the clarity of my overtones? How can I obtain fast and precise control? What is the technique for singing songs and melodies in overtone singing? How does it work to sing loud whistle-like harmonics in “tongue-technique”? What steps should I take to learn how to change fundamentals?

In this overtone singing workshop for people with previous experience, these questions can be covered based on the group’s overall level and interest. Whether you attended my workshops, studied with a colleague, or are self-taught, it doesn’t matter where your previous experience comes from.

In all workshops, participants receive individual feedback and attention.


Voice is sound. Sound is movement in air. Air is breath. Breath is a bodily movement that bridges the inner and outer reality. Connection. Dance embodies rhythm, rhythm embodies music, and music embodies sound.

Yvonne Pouget, a choreographer and psychotherapist, and Anna-Maria Hefele, a singer and musician, are leading this workshop.

The approach of this workshop embraces a holistic perspective, intertwining bodywork, movement, breath technique, singing, sound, and music.

If any of the following aspects align with your desires, then this workshop is for you.

  • Reduce your stress level
  • No need for complex music theory explanations
  • Discover your unique expression through physical and vocal exploration in space.


Working with vocal overtones is of great value to choir singers and choral conductors.

If you’re involved in a choir and want me to work with your group, please get in touch! (Contact details located at the top of the page). I have a deep passion for collaborating with choirs and vocal ensembles of all levels and genres.

The capability to hear and control harmonics provides the following benefits for singers in a choir:

  1. Singing overtones is an effective form of ear training.
  2. Singers can quickly and easily adjust their vowels and sound colors to each other, improving blending.
  3. Improved blending can also enhance the choir’s intonation.
  4. The vowels’ overtones can be used to “tune” the choir, if selected to match the harmony in a specific musical section.

The choir’s artistic incorporation of overtone singing:

  1. Learning to amplify vocal overtones through slow vowel transitions is simple and can be quickly achieved, making it a captivating sound effect in choral music.
  2. If overtones are specifically notated, compositions involving overtone singing for the choir necessitate more time and practice.

This is how the learning process goes:

  1. Learning to identify the harmonics in the teacher’s voice.
  2. When singing slow vowel transitions on a long note, first harmonics are generated, and overtones become noticeably present in the sound.
  3. Developing the ability to detect harmonics in other singers’ voices.
  4. Beginning to hear the overtones in your own voice, this is a lot more difficult’ harmonics, so that’s the next step.
  5. By having the basic ability to hear the harmonics in one’s own voice, one can also learn to control them.


For the Overtone Singing Video Workshop please visit the >SHOP