Here is a video in which I explain some of the things that are essential for those who start on the path of learning to sing overtones. Enjoy!

The post How to hear your own overtones? appeared first on Fusica.

For decades I have known a technique of Western overtone singing that I heard perform only one time. Many singers use the technique on which it is based, which I call the L-technique, as their standard for singing overtones. But I suspect that this particular technique is unknown to most overtone singers. Since hearing the shimmering, glistening sound of this unique method, I practise it occasionally. Recently I notice it does not sound as clear as it used to, and so it is high time to share it with others, who then can also use it. I am now getting it back in shape again and will present this technique in a live performance as part of a longer piece, next month in my solo show In|nbalance in Potsdam. In this video I tell a bit more about it and show the technique.

I will give three workshops especially for Designing Voices in Potsdam about overtones and resonance stuffed with information and exercises about many overtone singing techniques, from various forms of Tibetan chant through Western techniques to Tuvan/Mongolian techniques.

So the technique has one clear characteristic that makes it stand out: it highlights two overtones while not sounding the overtone that is between them. This goes against the common wisdom of every practising overtone singer, which holds that you try to concentrate the sound energy in one clear, central overtone. With this little-known technique, it seems you sort of split this energy out again in two directions around one central overtone that you cannot hear. When normally you try to focus all energy on, say, overtone number 9, you now adjust your tongue so that the energy flows out to numbers 8 and 10, making both of them loud enough to be heard. A rather unusual procedure. Very characteristic is the combination of the seventh and the ninth overtones, leaving out number eight; and also nine combined with eleven (with number ten being inaudible). (For the microtonality / Just Intonation freaks and serious singers: more details about the overtone range at the bottom of this post)

For reasons I cannot fully fathom myself, I have never spoken to anybody about this technique: not with Michael Vetter, not with Borg Diem Groeneveld or with other overtone singers. Somehow it remained this special treasure all this time. It is possible others have heard it and know more: please drop me a line if you do. Since I do not know if Michael Vetter ever gave this technique a name, I need to come up with one. I usually think of it as the ‘parallel third technique’ but there can be a fourth in the low range and possibly seconds in the higher range. I find the parallel thirds the most striking element, however, so I prefer that name: the “parallel-third technique.”

Interesting detail: the storm created a special atmosphere in the church in Utrecht: this was also clearly palpable in the live broadcast itself. It was amplified by the storm we, listeners, heard at home, raging outside. This situation and the name Töne im Sturm is also very fitting for the theme of the In|nbalance program I am working on. Is it a coincidence that unusually strong winds are blowing around my place in Amsterdam for several days now, in September 2025, while I am working on this piece and this video? Every now and then the rain flies past my window almost horizontally. The wind produces ominous, low rumbles day and night; rustling sounds produced by thousands of leaves come and go in waves; and then there are the ‘ordinary’ sounds of wind, mid-range, between these high and low frequencies. Three stacked layers of sound. Just as in the parallel-third technique itself.

Michael Vetter with brezel (pretzel). Photo by Mark van Tongeren

The radio programme that featured Michael Vetter’s concert, baptised Töne im Sturm (‘Tones in the Storm’) by the singer, was De Wandelende Tak, which mostly featured traditional music from around the world, often original recordings by musicians, ethnomusicologists and other people with special knowledge of that tradition. I was a frequent guest myself in this program with recordings from Siberia, Mongolia, Kalmykia and other places. The overtone singing concert from Vetter was characteristic of the ambiguous status of overtone singing, because it is not traditional music, like the content of nearly all other episodes of De Wandelende Tak. The concert was organised by Diem Groeneveld, a long-time Dutch student of Michael Vetter and a fine overtone singer himself. Walter Slosse was the host who interviewed Groeneveld about Vetter before and after the concert, and it was broadcast by the VPRO.

This is my recording of the radio programme, made on a cassette and later transfered to the computer. There is a  silence towards the end for a short while, of which I am not sure at which stage it happened – probably during the A/D conversion.

After listening again, I conclude that Vetter’s technique was in an absolutely superb state at this point,

as can be heard  in all the ‘ordinary styles’of overtone singing. The parallel technique becomes clear particularly at around 12:45, and comes back several times later. 

Töne im Sturm.

Live radio broadcast for VPRO radio’s

De Wandelende Tak, mid-1990s.

Details about the range of overtones and their distances

For the overtone cogniscenti: the extremes on the recording of my own version are overtones ten and twelve, but I can go as high as twelve and fourteen, and as low as six and eight. Every time, the overtone in between them is not audible. Nearly all these combinations are variations of the interval of a third. The interesting thing is of course that every third is different, as the distance between the two tones grows smaller with every higher step on the harmonic scale. The H6 + H8 combination, my lowest combination, is a near-perfect fourth apart (497 cents, in case you were wondering), then next is the largest third H7 + H9 (a very large major third of 435 cents). The thirds progressively decrease their distance: the smallest and highest interval I could still sing clearly with this technique is a very small minor third of the overtones H12 + H14 (266 cents).

To hear this technique in its full splendour, come to Potsdam next month! And to learn more, I will give three workshops especially for Designing Voices in Potsdam about overtones and resonance stuffed with information and exercises about many overtone singing techniques, from various forms of Tibetan chant through Western techniques to Tuvan/Mongolian techniques. Check out all the details here.

For all workshop dates in Amsterdam/Potsdam/

Zürich/Vilnius/Ljubljana/Helsinki:

check my upcoming events page.

The post Töne im Sturm: Singing Parallel Overtones appeared first on Fusica.

Concerts, workshops and other upcoming events.

Details below

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Upon arrival I had noticed a fascinating adobe-colored tower on the grasslands surrounding the museum. I had had a quick look and listen but was most eager to explore it more indepth and invited my singers to join me after the concert. It turned out to be a splendid work of art, of architecture, or something in between. A sonorous temple graced with the most intricate light patterns I have ever seen on adobe-like structures (earthy hues have been my favorite at least since the beginning of this millennium). These shifting light rays are the result of several horizontal slits placed in irregular intervals along the body of the tower. We stood in awe, listened in awe, walked around in awe. Notwithstanding the presence of a few other visitors, we began quite naturally to emit our first tones. The resulting resonance was as soft and layered as the plastered walls, which had uneven, undulating surfaces that still showed the signs of paintbrushes. Our voices bounced off the walls in a pleasant, smooth way, not as crystal-like and pure as glass-covered structures, but with a coarser grain of sound.

Walking around, you would hear your own sound, or someone else’s suddenly shifting from one direction to a totally different direction. Or even enveloping you from all sides. It is a familiar but surreal phenomenon in many round, resonant spaces with the wall or ceiling curving inward. In certain spots someone who is standing opposite you talking or singing, sounds as if she is behind you.

I knew already during the first glimpse: this is the kind of place I have been looking for in Taiwan for more than ten years. As time passed I knew I had to temper my expectations. There were occasional resonant places, like the one I had stept into earlier this year, but those were usually not very suitable for performing, or not very pleasant to be in, or too expensive or too inaccessible. This new tower was in fact many times better than what I had ever expected. It was not just a sonic treasure, which I somehow usually imagined to be a white or grey space, or otherwise colourless. This was the most intimate, warm, lush light I had seen in years, if I had ever been in such a building at all. It simply seemed to breath by itself already.

We did some more research and learnt to our astonishment that this treasure was not part of the newly opened museum, but it had been standing there for 14 years. Some months later, Sunny noticed an announcement of an event in the tower with the architect, the next day: the day when IUooUI rehearses! I quickly jotted down a simple idea we could sing and shared it. We rehearsed it in the morning and set out to the museum. Exactly at the designated time, the architect appeared from a hidden door, as if coming from nowhere. In the center of the spiraling form he began to talk casually about the history of his tower, its symbolism, problems he had overcome, adaptations to the original idea and more. The place came alive even stronger with these stories. Pei, as the tower is called, really was opened 14 years ago and virtually nothing happened with it, to the chagrin of the architect, Lin Shuen Long.

During the Q&A we introduced ourselves and asked if we could sing a piece to honour the architect and his creation. We spread out and sang Pi:Ecce (I thought the name of the tower was Pi, not Pei). I then started an improvised piece which IUooUI completed beautifully with several solo parts. The architect was enthusiastic about our musical performances and told me something that moved me to the core: “this tower has been waiting for you for fourteen years”.

This place is a treasure, a multi-faceted gem of a building. Not designed with a 3-D program, but by bare hands with mud or clay, just like all that amazing pottery that the small town of Yingge is famous for. Some pottery shops in Yingge have a history of 500 years behind them, and took their technology with them from the mainland. There is no more suitable architectural tribute to the town then a tower designed like most pottery is designed: from an ancient, artisanal practise. We can be greatful to the decisions-makers who planned to build something like this, for chosing this architect, and for both parties to overcome all the hurdles necessary to complete the project. And what is 14 years in the light of generations of pottery making? Now let’s hope steps are taken soon to celebrate the incredible potential of this tower, both visually and acoustically!

Our more or less failed outdoor performance on that early Summer day happened for a good reason. I feel blessed that we ran into something so special.

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During one of my concerts in Taucha, Germany, last month, I asked the audience who knows the name Michael Vetter. Several people raised their hands. But as I expected, many people at the Ancient Trance Festival don’t know his name. Of course, quite a few more may have heard his music in the Age of Spotify: you listen but don’t know what album is playing, now that a physical relationship to the medium (as in the time of LPs, CDs) is outdated. Besides, Ancient Trance is not exactly overlapping with Vetter’s artistic direction. He was much more avant-garde, with musical influences from Baroque to Dada and Fluxus, and a host of visual influences, from mediaeval religious painting and Chinese calligraphy to comics.

In the next few weeks O TRIOM is looking back at the life and work of the instrumentalist, vocalist, painter, poet, pedagogue and ordained Zen master Michael Vetter (1943-2013). We will be showing how his legacy continues to inspire, inform and transform our performing today in several concerts, a lecture and workshops. Why? Certainly not because Vetter was such a fine overtone singer. There are and have been many fine overtone singers, and Vetter’s style of singing and performing was one of many – not ‘just’ one of many, but a very influential one, to be sure. In the 1980s, anyone wanting to do something with overtone singing went to Vetter’s workshops and bought his albums, at least in very active German-speaking areas (and The Netherlands too). Vetter set certain standards for overtone singing, for a certain period of time, and those standards hardly changed.

Michael Vetter making Indian ink drawings, Academia Caparaia, Italy, 2009. (Photograph Mark van Tongeren under protection of Creative Commons CC BY-NC-ND)

The interest of O TRIOM in Vetter also started with overtone singing, but soon branched out in many other directions. For example: Vetter as a typical Zen Buddhist. He insists again and again that one should give undivided attention to what one is doing when making music (or anything else, though he would not talk about anything, but about art). And he applied this attitude in all his music, and all his other creative work, as well as his cooking and everyday life. When I read and re-read his texts, or when I go through the conversations we had and the interviews I did with him, I frequently stumble upon contradictions (literally: ‘counter-speaking’) concerning his spiritual or religious outlook. You may be looking to clarify his positions towards spiritual questions, and find that he has much to say about that. Many people felt he was a very religious person and his biography testifies to that. Certainly a believer! But then you will sooner or later find a remark in which he warns for overzealous religious interpretations. “Here and there one learns about the connection between overtones and Our Lord. That is far removed from me!” And yet, many of his art and music works bear very clear Christian (and not just Zen) elements.

It seems that it does not make sense. And that is exactly what we can take away from Michael Vetter (or maybe from Zen in general), and what keeps me coming back to him for fresh insights: there is no single, or final way to talk about or do anything. There are only temporarily, or partially ‘true’ or ‘convincing’ arguments to believe, or positions to take. As soon as one clings too much to certain truths, it is time to let it go again and look for yet another perspective .

In the weeks to come we will prepare ourselves with this in mind: try as best as you can to follow certain aesthetic and creative paths, and be always willing to throw them overboard again and replace them with something new. I am excited about this moment in our O TRIOM collaboration, which began in early 2022, if I remember well. And I salute the brilliant artist who bridged so many visions and visuals, sounds and musics, thoughts and dreams in a lifetime bursting with creative output.

Read an earlier post about why we should remember Michael Vetter here.

PROGRAM

FOR CONCERT TICKETS

CLICK HERE

O TRIOM Artists

LEE Wei Lin

LU Qi Chung

Mark van Tongeren

Production

Organizer| Taiwan Overtone Singing Association TOSA
Executive Producer  | Lee Chichen
Visual Design  | Bai Chi Hao
Image source | Michael Vetter

Lecture| prof. CHUNG Mingder

Taiwan Overtone Singing Association is also on Facebook.

Photos from a 2014 concert by O TRIOM

O TRIOM 紀念米歇爾·費特大師 系列泛音講座、工作坊暨音樂會

與談者將說談泛音音樂在台灣發展的故事，從當年北藝大邀請國外泛音音樂家來台傳藝及演出，到《OM泛唱作為藝乘》一書的誕生，泛音藝術家米歇爾・費特大師的生平創作故事，及至往後泛音音樂在台灣生根2022年台灣泛音詠唱協會TOSA的成立。

＊同場放映呂啓仲拍攝之泛音藝術家費特大師來台紀錄片《Transverbal穿越語言的相遇》。

｜工作坊內容｜

介紹「泛音唱法」，引領學員如何唱和體驗泛音，藉由唱出和聽到泛音，踏上精神的探險之旅。

點此報名工作坊＆講座

O TRIOM 米歇爾‧費特大師 紀念音樂會

時間：

2023/10/21  六 19:00

2023/10/22 日  14:00

地點：

夢響廳 Dreamphony Hall

新北市蘆洲區光榮路97巷59號

**捷運蘆洲站步行約5分鐘**

演出者：Mark van Tongeren．呂啓仲．李維琳

 音樂會購票點此 

O TRIOM 演出者

製作團隊

主辦單位| |台灣泛音詠唱協會

執行製作  | 李紀辰

視覺設計 |  白濟豪

圖片來源 | Michael Vetter

講座講者| 鍾明德教授

台灣泛音詠唱協會Facebook

Read an earlier post about why we should remember Michael Vetter here.

The post O TRIOM remembers Michael Vetter appeared first on Fusica.

Events by the Taiwan Overtone Singing Association and IUooUI

The year began with our new performance group, IUooUI presenting itself with concerts in Mei Garden, Taipei. This was followed by the establishing of the Taiwan Overtone Singing Association (TOSA), and then again more concerts by IUooUI. It is very encouraging to see the developments of some of my most loyal students in this performance group, and a growing audience for our musical adventures, now joining in an official association. I am grateful to all the members, supporters and to Sunny Chen, who is the driving force behind TOSA and pushed ahead with the concert programs for IUooUI. The highlight was a series of concerts in the Taipei Fringe Festival.

Performing Hsu Po-Yun’s music at the National Concert Hall, Taipei

As icing on the cake of the overtone singing events in early 2022, I was invited to perform in a piece of the venerable Taiwanese composer Hsu Po-Yun, contributing with Tuvan throat singing, in the National Concert Hall in Taipei.

Smells of 2022: Healing Island Videos

One of the recurring activities in 2022 was the shooting of short video documentaries about Taiwanese trees and plants that my wife June Wen included in her book Healing Island. That is sort of a new role for me as a video-host/presenter without direct link to my performing roles (though surely I do sometimes popped out some guttural sounds or overtones – don’t worry!). Here we shot one of the favorite species we visited: shell ginger aka pandanus aka kewra. An aroma that ‘blew me away’ when I first smelled its extract at the book launch in January 2022.

Jew’s Harp extravaganza

Just like some 15 years ago, we had several days of Jew’s Harp music, but this time in Taiwan. The first large-scale festival of its kind. I had the honour to open and close the festival with a solo performance. The closing ceremony turned into an hour+  jam with everybody joining – including the audience. Special guest and old friend Leo Tadagawa joined me for some visits to several great, indigenous Jew’s harp makers.

Authoring of a New Music text

I contributed not only music (voices and Jew’s harp) but also text to a new composition by the German-Chinese composer Yang Song (who also has Mongol parentage). The writing fits into my current practise of writing one okyo a day, but I specifically sought out Mongolian characteristics. Full story here.

365 Algorhythms: 23112001

I am writing at least one new okyo every day since early December. Okyo is Japanese for sutra, borrowed from Michael Vetter’s use of the term (more about that later).

Listen and join in if you like (click the image).

Oldest Institutions

For some time (decades, in a way) I am interested in the question what are the oldest institutions in the world. A post I read last year of an organisation dedicated to thinking and acting on the long term provided interesting yet unsatisfying answers. There is a nice list of old institutions as a GIF image, with some truly surprising names. It includes Japan, too, which is important. But China was lacking, as was India, and I am not sure yet how that could be possible. I guess this lack gave me the impetus, a few months later, to decide to attend that very ancient ceremony, celebrated on Teacher’s Day in Chinese-speaking countries. I had been thinking about that for at least 10 years, but now was the time. Time to act. Time to witness history. On September 28, I heard the ceremony designed by Confucius, and I saw Kung Tsui-Chang, who can claim descent from that old master. The 79th generation, 2572 years later. A stunning idea. Several versions of the ritual seem to exist and changes did and do happen. Yet we can praise Confucius for creating something that more or less survived all these two-and-a-half thousand years.

https://youtu.be/rypAVwtHurA

Two new albums, one book and one book contribution

Click on the image for the full story.

The post 2022 in sounds, sights and smells appeared first on Fusica.

Join me this weekend for the first of three launch events of the book and album Overtone Singing. The first one will be most suitable for people on Asian time (Saturday 7 January  at 12 AM for Taipei/Hong Kong) and LA time (US) on Friday 6 January at 8 PM). The second one takes place in NYC (Saturday 14, evening) and Asia (Sunday 15, morning). A third launch in European time will happen on February 4.

I will look back on 30 years of research as a singer and musicologist, tell stories, sing some demos and pieces and there will be one or more special guests to say a word about this book or their own experiences in the field of overtone singing. There will be a short Q&A at the end too.

Please celebrate this occasion with me. We will braodcast on the Fusica YouTube channel. If you would like to receive a notice or subscribe to other notifications, write an email to Jane Tsai by clicking here:   jame79522@gmail.com.

All information about the book is here.

LAUNCH #1

WESTCOAST US

Friday January 6

20-21:30 LA time

=

Saturday January 7

12-13:30 TW/HK time

The FB event page

https://www.facebook.com/events/565031861852798/?ref=newsfeed

LAUNCH #2

EASTCOAST US

Saturday January 14

20-21:30 NY time

=

Sunday January 15

9-10:30 TW/HK time

The FB event page

https://www.facebook.com/events/1810308066007379/?ref=newsfeed

LAUNCH #3

EUROPE

Saturday February 4

13-14:30 C.E. TIME

=

Saturday February 4

20-21:30 TW/HK time

The FB event page

https://www.facebook.com/events/1187454068549532/?ref=newsfeed

Official worldwide release date: January 10.

Global distribution everywhere through The MIT Press / Penguin Random House.

Available NOW through Fusica and Terra Nova Press.

Book (pre)orders: Publisher Terra Nova

https://www.terranovapress.com/books/overtonesinging

Or as a package with the Anthology album:

https://markvantongeren.bandcamp.com/album/anthology-of-overtone-singing

The book in short:

The Overtone Singing Book

The post Book Launch 1, 2 & 3 appeared first on Fusica.

That was the signal to also let the Anthology of Overtone Singing go public. First of all on Bandcamp, where the audio is now available for streaming or purchasing. I also submitted all tracks to Apple Music, Spotify etc. etc. 25 Artists that are not featured on Apple Music and Spotify yet now will be represented there. It took me about a year of preparations and it meant not a small thing to press that ‘SUBMIT’ button to me.

So book and music are available now from Terra Nova Press, from me and next week also from a European address. We are still working out the best solution to offer the music and the book in one go. For the moment, the book is available through Terra Nova Press and by writing to me directly, while the Anthology is available in Bandcamp. Possibly we offer both in one package very soon.

There is a limited number of books available with a CD that is nearly identical with the streaming version from Bandcamp: just two tracks have been shortened a bit to fit onto the CD format. Details will soon be published on Bandcamp; you can also write to me if that is what you need.

The major platforms will  start selling and shipping the book in December or January.

For now, get it directly from one of us!

Book on Terra Nova Press:

https://www.terranovapress.com/books/overtonesinging

Book and/or Anthology Album on Bandcamp:

https://markvantongeren.bandcamp.com/album/anthology-of-overtone-singing

You will find more details about the book on this page.

The post Book and Audio Anthology published appeared first on Fusica.

The name UIooUI stands for the mantra-and sutra-like phrases that we often use, inspired by the okyo of Michael Vetter (1943-2013). Michael transformed these traditional Japanese sutras to expand his own musical language, and this has become part of my own language now. IuooUI also stands for:

Of course, the syllables i-u-o-o-u-i  make a small overtone piece in themselves.

The name was proposed by our in-house poet, Amang, whose Chinese name is Yü, which is the last part of IUooUI when it is pronounced as a three-character Mandarin syllabe, yiwoyu.

Our in-house designer JiJi Liu created the logo for us.

The name TWEAKS refers to the process of tweaking, adjusting, making things better by smaller or sometimes bigger changes. It is my hope that next week we can really tweak all the musical elements so that they keep on growing, changing and move towards a more refined shape. This week, at least, some of us were still busy tweaking, like JiJi and Sky, who came up with this after the dress rehearsal:

It has been inspiring to see how busy all members got in recent months to prepare for this first complete performance. They have been working diligently on their sounds and pieces, of which more than half is composed by themselves in smaller units. They took care of sound and light, finding equipment and personnel to handle it, costumes …

Earlier this year we have done some smaller performance, to warm up, and as teasers for our bigger program.

DATES and TIMES

Sunday August 21 – 19:30

Wednesday August 24 – 19:30

Friday August 26 – 15:00 and 19:30

Sunday August 28 – 19:30

The performances will be held at VENUE, on its 5F space, No. 10, Lane 107, Linsen North Road. This is a bustling area and if you have the time, you can have diner before at a nice Japanese restaurant, Umeko, right next door to VENUE  (no. 8)!

Limited 20% discounted tickets available, please write to: iuooui.taiwan@gmail.com
to secure your seat. Tickets: https://www.opentix.life/event/1536284030369976325

Our Facebook and IG:

www.facebook.com/iuooui.taiwan

https://www.instagram.com/_iuooui/

The post Introducing: IUooUI appeared first on Fusica.

TOSA members performing on January 1 at Mei Garden Restaurant, Taipei

In the end it was Sunny Chen who has done endless amounts of paperwork to have the first small meeting of founders last December. My heartfelt thanks to her and all those who signed up as founders. The next step is to go public, and this will happen right after Chinese New Year, on February 19. On that day our chairman Sky Tseng will tell more about bigger and smaller events we are going to host every year; about a practising group to brush up your overtone singing and chanting; about concerts we will jointly attend or important books and pieces or CDs we will discuss. Professor Chung Minder, or taimu as he is known to many, will look back to twenty years of overtone singing in Taiwan, and perhaps look forward too. My old friends, and long-time overtone singing lovers (and love-couple in the first place) Wei-Lin and Qi-Chung will do a presentation, and so do I: this serves as the upbeat to a full concert we are preparing for later this year.

To make all of this happen, we need to reach a minimum of 45 members by January 28 (and not by February 19, as we thought before). We hope you will consider to sign up this month and give our association a flying start. A little extra support at this point is much needed since only a small inner circle of people knows about this initiative. Once we get started in February we can reach out to more people.

TOSA founding meeting no. 1, 12/12/2021

2021 年 12 月 12 日，我們著手成立 TOSA，即「台灣泛音詠唱協會」（Taiwan Overtone Singing Association）。協會將在 2 月 19 日舉辦一場盛大活動，在一個美麗的新空間舉辦音樂會和講座，作為協會對外公開的開端。我想在此邀請你一同加入，成為協會成員。我長久以來都夢想能在泛唱領域為自己和其他藝術家創建更實際的平台。但由於中文讀寫能力有限，我遲遲無法實現這個願望。直到我身邊的合作夥伴 Sunny Chen 和 Jackal Mei 開始詢問我相關的想法，並提出發展組織及舉辦大型活動的建議，我的心願才開始逐步實踐。目前為止已經有不少人學習泛唱，可能是跟我學習，也可能是跟台灣或國外的老師學習（通常來自內蒙古或圖瓦）。近年來，有好幾位技術純熟的表演者和泛音愛好者，他們的技巧與日俱進。我在泛唱方面的工作往往是獨立進行，但我認為是時候幫助更多有志專精泛音詠唱的人發光發熱了！同時我也想與更多人分享泛唱各種形式的美，涵蓋藝術、療癒、傳統、現代等各個層面。

更多關於 2 月活動和 TOSA 計劃的訊息都可以在這裡找到。請註冊並成為會員！根據規定，我們需要在 2 月 19 日之前招募足夠的會員，所以如果可以，請現在（或在 1 月底前）點選連結，協助我們推動計劃。非常感謝你！

最後是 Sunny 做了大量文書工作，在去年 12 月召開了第一次小型的發起人會議。我衷心感謝 Sunny 和所有登記的發起人。協會的下一步是對外公開，時間將是農曆年後的 2 月 19 日。那一天，理事長 Sky Tseng 將詳細介紹協會大小年度活動、一起精進泛唱技巧的練唱小組、成員共同參與的音樂會、還有我們列入討論項目的重要書籍、作品和專輯。鍾明德教授（也就是大家熟知的大木老師）則會回顧台灣 20 年的泛音詠唱史。另外一個重頭戲是泛唱圈的佳偶啟仲和維琳的泛音雙重唱，他們是我的老朋友，也是資深的泛音愛好者。我自己也會有一段泛音獨唱，這兩段演出將為今年籌備中的正式音樂會開啟序幕。

為了實現這一切，我們需要在 1 月底前招募至少 45 名會員（不是之前以為的 2 月 19 日）。所以我們希望大家能在這個月註冊，讓協會能有一個好的開始。這方面我們非常需要一些額外的支持，因為目前只有少部分人知道這個計畫。一旦在 2 月正式對外公開，我們就能觸及更多人了。

時間: 2022年2月19日，14:00-16:00

地點: 好好說話工作坊,

         台北市中山區明水路575號B1

https://goo.gl/maps/tjjuF6zGF9vqGYmV8

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精彩分享包括:

1. 鍾明德教授分享〈泛音在台灣的歷史〉 

     (鍾明德教授為《OM:泛音詠唱作為藝乘》作者)

2. Mark van Tongeren， 泛音獨唱 

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