Tuvan Throat Singing

Tuvan throat singing, also known as Mongolian throat singing, is a style of singing practiced by people in Tuva and Mongolia, the main technique of which is known as ''khoomei'' ( or ). It is noted for including overtone singing. In 2009, it was included in the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO. The term or means and in various Turkic languages.

Overview

In Tuvan throat singing, the performer hums a fundamental pitch and—simultaneously—manipulates the overtones that belong to that fundamental pitch, creating a melody. The history of Tuvan throat singing reaches far back. Many male herders can throat sing, but women have begun to practice the technique as well. The popularity of throat singing among Tuvans seems to have arisen as a result of geographic location and culture. The open landscape of Tuva allows for the sounds to carry a great distance. Ethnomusicologists studying throat singing in these areas mark ''khoomei'' as an integral part in the ancient pastoral animism still practiced today. Often, singers travel far into the countryside looking for the right river, or go up to the steppes of the mountainside to create the proper environment for throat singing.

The animistic world view of this region identifies the spirituality of objects in nature, not just in their shape or location, but in their sound as well.

Ordinarily, melodies are created by isolating the 6th, 7th, 8th, 9th, 10th, 12th and 13th partial in accordance with the harmonic series. Thus, if the fundamental frequency were C3, the overtones would be G5, B♭5, C6, D6, E6, G6, A6. However, it is possible to reach as low as the 2nd and also way above the 16th. The fundamental pitch is typically around E and G below middle C, and this affects the range of partials the singer can reach, with higher partials more easily reached on lower notes, and vice versa.

The people of Tuva have a wide range of throat singing vocalizations, and were the pioneers of six pitch harmonics. There are several different classification schemes for Tuvan throat singing. In one, the three basic styles are , and , while the sub-styles include , , , and . In another, there are five basic styles: , , , and . The substyles include , , , , , , , , , , , , and . These schemes all use Tuvan terminology.

''Khorekteer''

''Khorekteer'' refers to the "chest voice". This is the voice that throat singers use when using ''khoomei'', ''kargyraa'', or any other harmonic-inducing style. The term can also be used to refer to all styles of Tuvan throat singing, much like ''khoomei''. It can also refer to the feeling of chest resonance or pressure that one experiences when throat singing. ''Khorekteer'' is often used as a launching pad into the ''khoomei'', ''sygyt'', or ''kargyraa'' styles of throat singing.

Ethnomusicologist Zoya Kyrgys, on the other hand, defines the term ''khorekteer'' as a designation for all Tuvan throat singing.

''Khoomei''

The most popular style of throat singing is known as ''khoomei'' (or ''khöömei'', in Cyrillic: хөөмей). ''Khoomei'' is traditionally a softer sounding style, with the fundamental (or drone) usually in the low-mid to midrange of the singer's normal voice. In this style, usually two or three harmonics can be heard between one and two octaves above the fundamental. In ''khoomei'', the abdomen is fairly relaxed, and there is less tension on the larynx than in other styles. Pitch is manipulated through a combination of movements of the lips, throat, tongue or jaw.

Singing in this style gives the impression of wind swirling among rocks.

The term ''khoomei'' is also used as a generic term to designate all throat singing techniques in this region.

''Sygyt''

''Sygyt'' (in Cyrillic: сыгыт), literally 'whistling', has a midrange fundamental and is characterized by strong, flute-like or rather piercing harmonics, reminiscent of whistling. Also described as an imitation of the gentle breezes of summer, the songs of birds, the ideal sound for the harmonics is called Чистый звук—Russian for ''clear sound''.

To perform ''sygyt'', the tongue rises and seals around the gums, just behind the teeth. A small hole is left back behind the molars, either on the left or right side. The sound is then directed between the teeth to the front of the mouth. The lips form a bell-like shape, usually with an "ee" vowel, and the sound is directed through this small opening. Pitch is manipulated exactly the same way as in ''khoomei'' style.

''Kargyraa''

The more deep-sounding style of throat singing is known as ''kargyraa'' (in Cyrillic: каргыраа). ''Kargyraa'' has a deep, almost growling sound to it and is technically related to Sardinian bass singing in '' Cantu a tenore'' choirs. It uses both the vocal and the vestibular folds (also known as "false vocal cords") simultaneously, creating two connected sources of sound.

By constricting the larynx, the vestibular folds can be brought together (adducted) and, under certain conditions, vibrate. It can produce an undertone exactly half the frequency of the fundamental produced by the vocal folds. Therefore, for each second vibration of the vocal folds, the vestibular fold completes a whole vibration cycle. While the larynx generates such rich sound, the mouth cavity may be shaped, just like in the manipulation of vowels, to select some particular harmonics, resulting in a sound that may be perceived as having different pitches simultaneously.

This vocal mechanism has been elucidated and shown to be the same as in Sardinian ''bassu'', which is one of the four voices of Sardinian ''canto a tenore'' choirs. It is also similar to the chant practiced in Tibet by the Gyuto monastery and other Buddhist orders, even though the technique is very different. In beatboxing

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