For chromatic harmonica, violin and overtone singing with jaw harp
為半音口琴, 小提琴, 泛音詠唱及口弦而作
5 min.
Instrumentation: chromatic harmonica, violin, overtone singing, jaw harp
World premiere: 22 April 2016, HKBU Recital Hall, HK
Performance: 27 May 2016, HKBU Academic Community Hall, HK
Another version: The Ancient Voice No.2 古音之二 (2016/2018) *, For overtone singing with violin & harmonica, 9′ (2018年6月6日演, Small Chamber)
Programme note
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.
樂曲介紹
「呼麥」是一種源於蒙古的喉唱藝術,演唱者通過巧妙調節共鳴腔,同時唱出兩個音(基音及泛音)。鄭靖楠為作曲家兼呼麥演唱者,努力探索在創作中使用呼麥的可能性。
《古音之二》(2016)為小提琴、半音階口琴和呼麥/口弦而作,揉合古今及東西方的音樂元素。在樂曲的最後一段,三位音樂家會即興演奏,透過聲音互動,為作品注入生命。
這首樂曲自由奔放,也適合街頭表演。

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