Because there is no universal notation for overtone singing, many musicians and mentors have received numerous arrangements of symbols, numbers and odd looking scores, in an attempt to describe ways of relating to each other in small or large groups, while singing with overtones. Through this process many useful terms and symbols have come about that are used in our ensemble which appear on these scores. With these I hope to offer singers of all types a beautiful and thought-provoking approach to singing with overtones, to entice the many choirs and overtone singers in the global community to perform a piece of music from a notated score which focuses on vocal harmonics, to find functional terms, to provide notation of musical compositions for all levels of ability and, finally, to increase our capcity in service to the global overtone singing community.

Below are 3 examples of tonal maps used in the composition Alignment. Tonal maps, based on a lattice of Just Intonation, are improvisation boundaries. A set of instructions is included in the full score. Many of the Symbols are derived from W.A. Mathieu's book Harmonic Experience published by Inner Traditions.

Each intersecting point represents a tone, each connection is a harmonic ratio. Each direction represents a kind and quality of musical proportion. A tonal map is essentially a visual metaphor depicting an untempered harmony interconnected by harmonics.

Singers use each map as a kind of playfield, and can learn, visually, where the harmonious, dissonant or ambiguous harmonies are. Its a visual way to gain understanding about how harmonics relate to harmony. The advantage of this depiction is that spacial reasoning is effective i.e. how many connections "how far" a tone is from another is relevant musically. Tones that are too far from one another on a tonal map are ambiguous "difficult to tune". An excersion from center "home", out and back is the core arc of Alignment.