I have been excited to begin practicing Inuit throat-singing. I also have recently been drawn to the idea of overtone singing (where a singer can produce two distinct notes simultaneously), and I thought I might be able to achieve it. Turns out, it really is not as hard as it seems, and I heard the effect on my first try (albeit softly — I was shyly singing outside).
It is believed that a lot of emotion gets trapped in the chest, and with my history of trauma, I see throat-singing as a deep way to release it. It is raw, it is primal, it is shameless, and it is extremely powerful. In the past, I have done much screaming and I have sung lyrics that drove me to uncontrolled sobbing. With throat-singing, I hope to take those emotions and transform them, empowering them, as if turning a scream into a shield of strength.
Tanya Tagaq is a brilliant and lovely throat-singer who brings her Inuit roots to new life in song. This video is one of my favourites.
Meanwhile, overtone excites me because, firstly, I am most passionate when wildly challenged, and overtone singing takes some disciplined practice. I like trying to do things that seem impossible. Overtone singing, for me, is also a kind of expression of my multiplicity. I can already sing in many different voices and my range is half-decent. I have done “duets” where a female part of my personality sings the higher-ranges of a song, meanwhile a male personality sings the lower ranges. Or we split it up like a normal duet, as in songs like “The Phantom of the Opera” or “Come What May” where there is both a male and a female part.
I once gave a friend a recording of my male personality, Robert, singing a quite deep song. My friend was astounded that it was actually me, and listened to it again and again. so singing in general is an exciting expression and good therapy for my multiplicity, and overtone singing is like the ultimate way to give my personalities a voice simultaneously.