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Throat Singing
Tuvan (south Siberia) Called Khoomei. Its supposed to be the original one, and it seems to be
the most clasified and developed in different genres. From the pastoral animism.
As opposed to most cultures who may merely focus on the spirituality of objects by their
location and shape, Tuvans tend to focus more so on the sounds of these objects within
nature. Because of this idea, they tend to focus on the imitation of natural sounds. This idea is
most commonly linked to Shamanistic rituals, or simply done for entertainment purposes. In
either case, this phenomenon is believed to be the root of throat singing in Tuva. For example,
the act of Khoomei is thought to imitate the sound of wind swirling among rocks.
Substyles:
1. borbangnadyr
2. chylandyk
3. dumchuktaar
4. ezengileer
5. kanzip
Aspects:
Sygyt: whisteling, very high, imitating birds
Kargyraa: undertone, with the vestibular fold. Howling winds in wintertime, a mother
camel crying at the loss of her calf.
Chylandyk: both. Imitating crickets.
Dumchuktaar: like the first one but using only the nasal passage. Mouth often closed.
Ezengileer: pulsation, like a horse riding
It is taught at the Tuvan School of Arts.

Inuit: called katajjaq. Normally sung in duets, mostly by women, in a kind of game or playful
contest between one and three minutes. Voice, inhalation, exhalation, interlocking repeating
patterns.
Tibetan (tibet) This is commonly referred to as Gyume, Gyuto, Yang, and Dzho. Adapted from
Tuvan (specially the low pitch styles), for the monks and nuns. 'Umzeys' = leader. In Buddhism,
chanting is a way of relaxing the mind and spirit in preparation for meditation. They may also
be used for certain rituals, and some other functions include healing.
Another form of Tibetan Buddhist chant is directly related to healing. These are most often
sung at Cham, an important ritual including dancing and elaborate, multi-colored costumes
complete with masks, sacred music, and these healing chants. It is performed primarily by
monks outside of their monasteries in order to include those of whom are not monks. The
monks are often accompanied by a wide range of music instruments in an ensemble setting.
These include, but are not limited to, rgna,rgya-gling, and dung-chen. The dancing is meant to
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represent a depiction of the life of one famous saint. This dance ritual is performed by monks
who are members of the Buddhist faith, as well as the Bon tradition.
Rekuhkara (Ainu people, Japan and Russia) until 1976. Two women face to face, making a tuve
with their hands. One singing in the mouth of the other, and the other modulates the sound.

Pop-like usage
Misha Collins
Classical usage
TanDun, Water Passion

How is it done?
This is done specifically through resonant tuning, which consists of the singer changing the
shape of his or her resonant cavities. More specifically, these cavities are found in a person's
larynx, pharynx, and mouth. The drone within throat singing is typically in the middle-range of
the voice. The other pitches are normally produced between one and two octaves above this
middle-range.
A lot of tutorials on the website

Bibliography
Levin, Theodore Craig. Where Rivers and Mountains Sing- Sound, Music, and Nomadism in
Tuva and Beyond. Indiana: Indiana University Press, 2006.
Indaratana Maha Thera, Elgiriye (2002). Vandana: The Album of Pali Devotional Chanting and
Hymns. Penang, Malaysia:Mahindarama Dhamma Publication.
Howard, John. Physiology of Artistic Singing. Boston: Press of Percival T. Bartlett, 1886.
Mark van Tongeren: Overtone Singing. Fusica, Amsterdam 2002.
Wolfgang Saus: Oberton Singen. Traumzeit-Verlag, Schnau im Odenwald 2004.
http://voices.yahoo.com/tibetan-buddhist-chant-as-result-tuvan-throat-1443069.html
http://khoomei.com/types.htm
http://alexanderglenfield.blogspot.nl/
http://tarbagan.net/nodo/how/how.html
http://mongoluls.net/ger/khoomii.shtml
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Didgeridoo
Primitive brass, fluttering lips. Conical or cilindrical, from 1 to 3 meters
1,500 years ago, in Northern Australia. It have so many different names to call it.
Hard Wood (hollow eucaliptus branches, often in termite areas) with sometimes wax
mouthpiece. PVC+Rubber, or other Woods. The irregular shapes of the inner tube, not
polished, give different harmonic and overtone patterns

Techniques, circular breathing, vocalizations (to imtate some vernacular animals, like the
dingo or the kookaburra), hitting the body, and more modernly beatboxing.
In origin it was intended to comping ceremonial dances and singing. Like the tuvan singing, it
was also used for recreational and non-ritual purposes. Its mostly a instrument for men, and
the women playing it do it often without the aproval from the elders.
Pair sticks, sometimes called clapsticks or bilma, establish the beat for the songs during
ceremonies. The rhythm of the didgeridoo and the beat of the clapsticks are precise, and these
patterns have been handed down for many generations. In the Wangga genre, the song-man
starts with vocals and then introduces blima to the accompaniment of didgeridoo

Pop-like usages:
Metal bands
Classical usages:
Helena Tulve Sula, a didgeridoo in the orchestra
Mark Atkins Didgeridoo Concerto
My usage: hypervoice

Mark Atkins http://en.wikipedia.org/wiki/Mark_Atkins_(musician)
http://didjiman.com/didjeridu/didge-play.htm
http://www.didgesbrew.de/how_to_play_didgeridoo_02.html
http://www.wetdidgeridoo.com/didgeridoo-school/advanced-didgeridoo-techniques/
http://www.timelessproductions.com/didgeridoo-tutorial/part-1/
http://www.didgeridoodojo.com/
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Why these two together?
- Emphasis on the dron
- Certain statism
- Another way of listening
- By the big overtone content, its belived to heal
- Meditational implications so often
- Imitating nature, animistic origins

http://www.youtube.com/watch?v=JsQdaHQekZs#t=134
www.youtube.com/watch?v=FiGHeu_6siU

I think that, besides electronics and besides the organ, we dont have in the West any
instrument capable to archieve thiscaracteristics of stability, grain and primevality. And thats
why the Atlas Ensemble should incorporate a didgeridoo. And a bullroarer too.