Overtone singing is a vocal technique originated from Mongolia in which the singer could sing two notes (fundamental and its overtones) at the same time by manipulating his/her resonant cavities. As a composer and overtone singer, Hippocrates Cheng Ching-nam explores the new possibilities of the application of overtone singing in contemporary compositions.
Written for violin, chromatic harmonica and overtone singing/jaw harp, The Ancient Voice No.2 (2016) explores and superimposes both Ancient and Contemporary, Eastern and Western music elements. The last section of the piece provides a platform in which all three musicians could improvise and interact with their voices to make the piece alive.
This piece is also suggested to be performed on the street for its great sense of freedom.