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'''Tuvan throat singing''' is one particular variant of ] practiced by the ] people of southern ]. '''Tuvan throat singing''' is one particular variant of ] practiced by the ] people of southern ].


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Tuvan throat singing is one particular variant of throat singing practiced by the Tuva people of southern Siberia.

The art of Tuvan throat singing is a style in which two or more pitches sound simultaneously over a fundamental pitch, producing a mesmerizing, even entrancing sound. While much has been written about the cultural and historical aspects of Tuvan throat singing, this article shall focus on more specific detail about the different types of throat singing and how each style is produced.

Mechanics of throat singing

The first question that many ask upon hearing throat singing is: “How do they do it?” First one must understand some basic sound and singing physics. Sound is basically a wave of moving air. When we speak or sing, the sound is created when the air flowing into or out of the lungs is disturbed by the larynx, or voice box. The vocal folds open and close to produce these oscillating waves which create sound. The vocal tract is basically a tube through which sound travels and reaches the outside. This tube has certain resonance at certain frequencies. When we speak or sing, this is what we hear. In throat singing, an overtone, or harmonic, is generated above the fundamental resonating frequency.

Throat singers produce their harmonics through a process called Biofeedback. This means they raise and lower the fundamental frequency until they get maximum resonance on the harmonics sounding above, like moving a ladder up and down to achieve a desired height. They achieve this by controlling the manner in which the vocal folds open and close. When throat singing, the singer keeps the folds open for a shorter period and closed for longer. The abrupt closure puts greater energy into the upper harmonics, resulting in a clearer sound.

In addition to controlling the rate at which the vocal folds open and close, throat singers also manipulate the fundamental frequency through moving their jaws forward, and narrowing or protruding their lips.

As to actual pitch manipulation, there are four basic ways in which this is achieved. First, the tip of the tongue remains behind the teeth while the midtongue actually rises. The lips can also be opened slightly. This method is commonly used in the Sygyt style, discussed later. Secondly, moving the tongue forward can assist in manipulating pitch. The third method involves the throat itself. For lower harmonics, the base of the tongue moves to the rear of the throat. For mid to high harmonics, the base of the tongue moves forward until there is space in the vallecula, which is the space between the rear of the tongue and the epiglottis. Finally, a throat singer can manipulate pitch by simply widening the mouth in very precise increments, giving the effect of shortening the vocal tract. This is the easiest for one to experiment with and experience. The slightest opening or closing of the mouth can literally raise or lower a pitch. Try humming a pitch, then very slowly open your mouth to an “oo” sound, then “oh”, “ee” and “ah” and see what happens to the pitch. Listen carefully and there should be a noticeable change in the overtones above the note you are humming/singing.

Xorteer

With all the technical aspects of throat singing discussed, let us now get into the distinct styles. The first style is known as Xorteer, which refers to the “chest voice”. This is the voice that throat singers use when not using khomeii, kargyraa, or any other harmonic-inducing style. The term can also be used to refer to all styles of Tuvan throat singing, much like khoomeii. It can also refer to the feeling of chest resonance or pressure that one experiences when throat singing. Xorteer is often used as a launching pad into the khoomei, sygyt, or kagryaa styles of throat singing.

Khoomeii

The most popular style of Tuvan throat singing is known as Khomeii. When referring to throat singing, this term and style is most commonly used. Khomeii is traditionally a softer sounding style, with the fundamental usually in the low-mid to midrange of the singer’s normal voice. In this style, usually 2 or 3 harmonics can be heard above the fundamental. In Khomeii, the stomach is fairly relaxed, and there is less tension on the larynx than in other styles. Pitch is manipulated through a combination of lip and throat movement, like manipulating vowels (ee, ay, ah, oh, oo), and moving the tongue or jaw. The website Khoomei.com has a great video demonstrating khomeii style. You can view it here.

Sygyt

Along the same lines as Khomeii is the Sygyt style. Sygyt has a midrange fundamental and is characterized by the strong, flute-like harmonics that can be heard above the fundamental. The ideal sound for the harmonics is termed “Chisti Zvuk”, which is 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 khomeii style. Here is a video example of Sygyt.

Kargryaa

The more deep sounding style of throat singing is known as Kargyraa (pronounced Ka-graa). Kargryraa has a deep, almost growling sound to it and is technically related to Tibetan chant. It uses both the vocal and the ventricular folds simultaneously, creating two sources of sound. If the larynx is constricted above the vocal folds while they are engaged, the ventricular folds will resonate and give a second pitch. The ventricular folds vibrate at half the speed of the vocal folds, which usually produces a pitch an octave lower than the normal voice. Pitch is manipulated through the manipulation of vowels. There are two types of Kargryaa: Dag, or mountain, and Xovu, or steppe. The Dag style, shown here is deeper and has more nasal effects, while Xovu is raspier and sung at a higher pitch with more throat tension and less chest resonance. Click here to see Xovu. It appears at :53 into the movie.

Other effects

There are two effects that are commonly employed in the khomeii, sygyt and kargyraa styles. The first is borbangnadyr (pronounced bohr-bong-nah-dur) which refers to acrobatic trills that are reminiscent of birds and traveling brooks. This is achieved by the quivering of the lips lightly and rapidly. Here is an excellent example. The second effect, known as Ezengileer, is a series of harmonic oscillations intended to mimic the sound of stirrups clinking to a galloping horse.

References

External links

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