The peoples in Africa such as the Twa and Bantu also use a high frequency style of overtone singing that carry in distance. But we are talking about a context of a range of a few city blocks and smaller. In the context of a guitar concert the lows that are supported by overtones project or carry better than those which have the high partials fall out.
If a carpenter is building a house and hitting a big nail into some dry wood and uses the sweet spot of the hammer it will create a high frequency *ping* sound that will be heard father away than the lower frequency that might move more air or be palpable in impact on the body at closer range, The hammer hitting the sweet spot will be carried a few blocks, but the lows will drop out. Finding the sweet spot in the way the guitar string drives the top is closer to the hammer nail sweet spot model. The guitar has to have the high partial support, the PING, in order for it to cut through to the back - as it was brought up earlier that is the reason why some guitars need 20 feet of space before the sound sorts itself out and some of the lows drop away.
If singers facing rooms full of meat puppets try to project through the meat with low end push it does not work. It can get loud to push with unsuppported gusto, but resonance of the skull and air column in the body produce the *cut* to project, and a singer tunes that resonance to support the his or her range with high partial support in the proper amount. That's the hammer hitting the nail in the sweet spot and the framing of a building is a giant skull. And there's some relation to that and the sweet spot of a guitar, the finger is the hammer and the string drives the top. If all is set up right the high partials support the sound and push it through the meat bodies.
Patience at the bending iron pays in rounded dividends!