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• Emphasized “middle” harmonics
with attenuated upper and lower
harmonics (Narrow Band)

• Individual upper harmonics dom-
inant with attenuated fundamental
(Overtone Dominant)

In graphic form, these spectral
envelopes can be outlined as an oval,
diamond, square, and wedge, shapes
that can be used to quickly delineate
the various timbres (Image 7).
It’s important to note that these
timbres are sound possibilities based
on acoustic phenomena and not an
imitation or appropriation of exist-
ing vocal traditions. While I have
mentioned singing traditions as ex-
amples of these acoustic phenom-
ena, such traditions involve more
nuance than creating a particular
timbre and take years of dedicated
study to master; there is a big diff er-
ence between creating a bright and
focused sound and singing “like a
Bulgarian choir.” What these timbral
categories off er, however, is a spring
board for singers and conductors to
interpret a score that asks for many
timbres with minimal explation.

Examples of How to Use
Timbral Categories to
Interpret Existing Repertoire
One example of a popular piece
that asks for a variety of timbres is
Pseudo-Yoik by Jaakko Mäntyjärvi.
Pseudo-Yoik plays off a stereotype that

may be considered culturally off en- Image 7. Spectral envelopes (listed from top to bottom) for Fundamental Dominant sound,
sive, but is such an important part Narrow Band sound, Wide Spectrum sound, and Overtone Dominant sound, with shapes
of the contemporary vocal ensem- outlining their respective harmonic strengths overlaid. Note that the fi rst image is the same
ble repertoire and has served as an as the standard notehead shape in traditional Western notation. Spectrographs show a
introduction to using timbre as an range of 200hz-10,000hz.

CHORAL JOURNAL April 2021 Volume 61 Number 9 59